movie review

ANTHROPOID (UK/Czech/France 2016) ***

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anthropoid.jpgANTHROPOID (UK/Czech/France 2016) **
Directed by Sean Ellis

Starring: Jamie Dornan, Cillian Murphy, Brian Caspe

Review by Gilbert Seah

The word ANTHROPOID comes from‘Operation Anthropoid’, the real life plan initiated by the Czechoslovakian Government to assassinate one of Hitler’s top right hand men, Reinhard Heydrich (aka the butcher of Warshaw) during World War II.

If a film has ever failed because of overeagerness, ANTHROPOID is the one. Despite sharing a few excellencies in certain departments like in costume and sets, the film, co-written directed and photographed (Ellis is both cameraman and cinematographer) has too much in the hands of its director.

Ellis is also not one for subtlety, He wants his audience to feel what is happening. His hand held, jittery camera method used in the end shoot-out climax, with the sound turned up several notches ends up giving the audience a headache more than anything else. To show the hero with trembling hands unable to pull the trigger more than once is nagging the audience. In Hitchcock’s torture scene in TOPAZ, no torture need be seen. The tortured were only shown after the torture in each other’s arms when the woman whispered the name, barley audibly “Juanita” to Fidel Castro. In ANTHROPOID, as if the tortured man’s explicitly shown broken hands broken were not enough, he has to scream out loud “the church”, the place where the hidden paratroopers are hiding. The tortured man was also shown the head of his mother in a bucket that was more laughable than scary.

For a film so controlled by its director, it is surprising that the film goes totally out of control in its last 20 minute climatic scene – the takeout in the church by the Germans. It is an extended and tedious scene, where the hero shoots and kills dozens of German soldiers while dodging bullets, grenades and other artillery. The shot of ‘Uncle’ (Toby Jones), the Resistance Fighter head losing his glasses and clambering to find his dropped cyanide pill before the Germans break down the door is nothing more than cheap theatrics.

It would also be good if the Germans were not always featured as bad guys with no redeeming qualities. In THE EAGLE HAS LANDED, there was a nice touch of a German soldier, part of an invasion in an English hamlet, died saving a drowning girl.

Nothing is mentioned of the priest who harboured the paratroopers in his church or the aftermath of Hitler’s retaliation to Heydrich’s assassination. Hitler slaughtered at least 1300 innocent Czechs in retaliation. But to be fair to Ellis, he has one scene where “Uncle” warns the two (Jamie Dornan and Cillian Murphy) of their mission: “Do you know Hitler will tear Prague apart? The question is whether Prague is ready to resist Nazi Germany.”

ANTHROPOID is not the first film about the assassination of a high ranking official during the War. VALKYRIE, MAN HUNT and the most famous, John Sturges’ THE EAGLE HAS LANDED (about Hitler’s plan to assassinate Winston Churchill) come to mind. The latter film remains the best of the lot, and though totally fictional is more believable than ANTHROPOID which is based on actual events.

ANTHROPOID finally emerges as an earnest film based on historical facts unfortunately spoilt by its director turning it out to look more like an action flick.

UNLOCKING THE CAGE (USA 2015) ***

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unlocking_the_cage.jpgUNLOCKING THE CAGE (USA 2015) ***
Directed by D A Pennebaker and Chris Hegedus

Review by Gilbert Seah

Do animals have certain rights as humans? Animals are caged and cannot argue their way out. The same can be said for the inhuman way chicken and cattle are reared for food.

UNLOCKING THE CAGE closely follows animal rights lawyer Steven Wise in his unprecedented challenge to break down the legal wall that separates animals from humans. After 30 years of struggling with ineffective animal welfare laws, Steve and his legal team, the Nonhuman Rights Project (NhRP), are making history by filling the first lawsuits that seek to transform an animal from a “thing” with no rights to a “person” with legal protections.

Supported by affidavits from primatologists around the world, Steve maintains that, based on scientific evidence, cognitively complex animals such as chimpanzees, whales, dolphins and elephants have the capacity for limited personhood rights (such as bodily liberty) that would protect them from physical abuse. Using writs of habeas corpus (historically used to free humans from unlawful imprisonment), Wise argues on behalf of four captive chimpanzees in New York State.
The film spends a considerable amount of time trying to convince the audience of the supposedly monumental shift in our culture, as the public and judicial system show increasing receptiveness to Steve’s impassioned arguments. It is an intimate look at a lawsuit that could forever transform out legal system, and one man’s lifelong quest to protect “nonhuman” animals. But he audience gets the point quite wary without the idea having to be constantly drummed into the audience.

There is nothing really wrong with this well intentioned documentary that achieves its aim of what it is supposed to do – which is to inform and to rally up people for animal rights and more. But being so straight forward, it is quite a boring doc tailing the activists from start to finish. There is more anger generated in the many other documentaries about abuse of other animals like sharks (for their fins), dolphins and other animals. UNLOCKING THE CAGE, though moving at times, is tame in comparison.

UNLOCKING THE CAGE had its world premiere at the Sundance Film Festival in January 2016 and its Canadian Premiere at the Hot Docs Film Festival in May 2016. It will open in Toronto on August 19th at the TIFF Bell Lightbox. The opening night screening in Toronto will be followed by a Q & A session with Steven Wise, via Skype, moderated by Canada’s first animal rights lawyer, Lesli Bisgould.

INDIGNATION (USA 2015) ***** TOP 10

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indignation.jpg

INDIGNATION (USA 2015) ***** TOP 10
Directed by James Schamus

Starring: Logan Lerman, Sarah Gadon, Tracy Letts

Review by Gilbert Seah

INDIGNATION is the first feature of James Schamus, founder of Good Machine production company, and the CEO of Focus Features. He has championed classics like CROUCHING TIGER, HIDDEN DRAGON, FAR FROM HEAVEN and BROKEBACK MOUNTAIN. The film is based on Philip Roth’s novel of the same name, a powerful one based on the writer’s college days.

The plot of the film is simple. But the pleasure of the film is not in the plot but in the writing. Based on the Philip Roth novel, excellence can only be expected. A working class Jewish student, Marcus (Logan Lerman), leaves Newark, New Jersey to attend a small college in Ohio. There, he experiences a sexual awakening after meeting the elegant and wealthy Olivia (Sarah Gadon). Later he ends up confronting the school’s dean (Tracy Letts) over the role of religion in academic life.

Director Schmaus also adds his artistic touch. He frames the story with the killing of a soldier during the Korean War. (Roth served two years in the U.S. Army.)

Though the year is not mentioned, the film later reveals the time period through the college banner of ‘Class of 55’ when Marcus enrols on the college. As most of the film are interior shots, he places his camera often stationary, concentrating on the performances on his actors, with close ups and pullbacks.

SPOILERS: In the Philip Roth novel it is explained early in the book that Marcus is dead and telling his story from the afterlife. In the beginning of the film an American soldier is shot dead in the Korean war. The next scene has Marcus attending a funeral of a friend. The audience assumes that the dead soldier is Marcus’ friend. It is only at the end of the film that it becomes clear that the dead soldier was not Marcus’ friend but Marcus himself. Director Schamus achieved this rather brilliantly conceived trick cinematically. The audience had not seen Marcus’ face yet so the assumption is that of any soldier. At the film’s end, Marcus’ face is very familiar so the association become complete. Also the wallpaper in Olivia’s mental home of the vase with flowers is cinematic as the effect of the wallpaper (as seen by an audience) cannot have the same effect as the reading of the book.

The script by Schmaus changes the novel a bit. In the novel, Hawes D. Caudwell, the college’s dean (Tracy Letts) suspends Marcus after he refuses to attend double the chapel services (mandatory in the school) that he had missed. In the film, Marcus is seen serving in the Korean War. The audience is assumed to be smart enough to put two and two together that Marcus had been kicked out of college and therefore been drafted as a result into the U.S. Army.

The success of the film lies a great part to the performance of the lead actor playing Marcus, who is in almost very scene in the film. Logan Lerman (who has proven himself in the PERCY JACKSON films and other dramas like THE PERKS OF BEING A WALLFLOWER) displays acting capability and eloquence as in the film’s best scene with Dean Caudwell debating Bertrand Russell’s Christianity. His character is described by Dean Caudwell as intense. The same adjective can be used to describe Lerman’s performance. Linda Emond is also excellent as Marcus’ mother. Ben Rosenfield has a supporting role as Marcus’ roommate. When Marcus moves out of the room, the roomate’s longing stare at Marcus during the Chapel service could be taken as his closeted homosexuality.

Shamus has now proven himself as a superb writer and director. INDIGNATION is a thinking man’s film that is smart, entertaining and funny. It is cinematically excellent in all departments from wardrobe, art and production design and acting. I would highly recommend this film and would also gladly see it a second time.

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NERVE (USA 2016) ****

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nerveNERVE (USA 2016) ****
Directed by Ariel Schulman and Henry Joos

Starring: Emma Roberts, Dave Franco, Emily Meade |

Review by Gilbert Seah

NERVE is a video game comedy/thriller/horror written by Jessica Sharzer based on her 2012 novel. Directors Schulman and Joos have previously made a documentary called CATFISH based on similar material. The video game NERVE is online reality based focusing on the dare part of ‘truth or dare’. Going on line with the underground app, one can click on ‘watchers’ or ‘players’. Players make money as they complete dares suggested by the watchers who pay to watch their players.

Enter into the game high school senior Venus Delmonic aka Vee (Emma Roberts). Fed up of being her best friend’s (Emily Meade) sidekick, Vee becomes a player for VERVE. She is caught up in the game with fellow-player Ian (Dave Franco) who has a secret. The film plunges Vee and Ian deeper and deeper until they become prisoners of the game. The climax of the film where all the watchers gather is somewhat similar to how raves were organized in the past. The film is incredibly real and current in today’s youth scene.

The film begins like a teen comedy with the girls acting like another version of MEAN GIRLS. Once Vee enters the game, directors Schulman and Joos slowly and effectively alter the mood to thriller and finally to horror.

The film contains a few very funny scenes as well as a few really suspenseful ones. The funniest line heard in a film by me this year comes in the hospital scene with Vee’s mother (played by Juliette Lewis, one of my favourite actresses). The suspense scene is high-octane fuelled as Vee and Ian complete a dare riding a bike blindfolded at 60 mph.

Dave Franco, shows here that he is capable as a lead of carrying an entire film. The actor has only done supporting roles in the past. He and Emma Roberts make good romantic chemistry. The kisses are done old movie style with lip smooching rather than with tongue. Here, it is apparent that the directors are aiming at a less restricted rating. The film is also noticeably absent form blood and violence despite the film’s theme. The best thing too is that the film contains a message about video games, though quite obviously stated at the climax of the film and more subtly put forward during a dramatic argument between Vee and Sydney.

American rapper MGK does an excellent job in the small but important role of Ty, a psychotic NERVE player who makes it to the finalist.

With all the hype on video games like POKEMON GO, NERVE arrives at the best timing possible. If the film seems far-fetched, it isn’t. There is an app called “Periscope” half similar to NERVE that emerged half way during the filming of NERVE.

NERVE is a very clever film released by Lionsgate famous for THE HUNGER GAMES and TWILIGHT franchises. This is definitely a film that caters to the same target audience and with some luck and good marketing, the desperate-for-a-hit studio will hit the big bucks with this film.

 

 

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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JASON BOURNE (USA 2016) ***

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jason_bourne.jpgJASON BOURNE (USA 2016) ***
Directed by Paul Greengrass

Starring: Matt Damon, Tommy Lee Jones, Alicia Vikander, Vincent Cassel Julie Stiles

Review by Gilbert Seah

JASON BOURNE arrives as the 5th instalment of the Bourne films based on the Robert Ludlum novels. Fans were given a break with the previous entry that starred Jeremy Renner working with director Tony Gilroy. With Matt Damon reunited with director Paul Greengrass, one would have expected a top-notch action Bourne film. Sadly, JASON BOURNE provides nothing than more of the same. A few additional secrets regarding Bourne’s past are revealed as to his father’s (Gregg Henry) involvement, but nothing substantial.

Greengrass sets his action set pieces the way Bourne fans are used to – hand held camera with jittery frame and fast edits. The technique creates more nervousness with audiences than anything else. I am not a keen fan of this kind of action shots though they appear popular with Bourne fans. The problem is the lack of continuity as evident in the over extended ridiculous car chase segment at the climax where the assassin’s (Vincent Cassell) truck ploughs through dozens of cars along a Las Vegas strip while in hot pursuit by Bourne. The background of the Vegas hotels do not appear to change as much as the distance covered by the chase.

Despite JASON BOURNE being an action film, the film’s most engrossing parts are the non action scenes. such as the suspense built up during the Exocon convention in Vegas where the founder of a high tech platform company (Riz Ahmed) is about to be shot.

Most of the Bourne characters are emotionless creatures from Bourne himself right down to the director of the CIA, Dewey (Tommy Lee Jones) and other assorted villains. The one with a conscience is Heather Lee (Alicia Vikander), sympathetic to killing Bourne and wanting to bring him into the CIA as another possibility. It seems odd that the script calls for her to change this character completely at the end of the film for the sake of a plot twist.

The film’s story is very current and remarkably similar to Snowden’s whistleblowing, which will be revisited agin in the upcoming film called SNOWDEN. The high tech convention setup is similar to for example, the real life unveiling of new products by Apple Inc. Another sequence that takes place in Athens has mobs of angry Greeks protesting the current economic crisis, clashing with the police.

The script asks the audience to accept a lot of credibility points like whether a lap top memory can be erased by a nearby cellphone.

The question is whether this JASON BOURNE film is really necessary and if it is, how it compares to the other Bourne films. The first THE BOURNE IDENTITY based on Robert Ludlum’s first novel is the most solid of the lot, directed by Doug Liman since it is the one that sets the wheels rolling and established the ground rules. Paul Greengrass then came on board as director, and with Damon establishing the new Bourne style with the next two films and in this one. The diversion with Renner and director Gilroy was ok but did not make any memorable difference. This new JASON BOURNE should satisfy Bourne fans, but provides just more of the noisy same.

 

 

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LACE CRATER (USA 2016)

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lace_crater.jpgLACE CRATER (USA 2015) **1/2
Directed by Harrison Atkins

Starring: Lindsay Burdge, Peter Vack, Betsey Brown

Review by Gilbert Seah

LACE CRATER is a low budget indie romantic supernatural comedy/drama/horror about a young woman, Ruth (Lindsay Burdge) having sexual relations with a ghost.

It all begins when Ruth and her pals head out to the scenic Hamptons for a weekend of fun. The fun includes getting drunk, sitting in the hot tub and joking around. Ruth ends up sleeping in the guest house which Andre (the host) claims to be haunted. That night a drunk Ruth has a visitor. Yes, the ghost (Michael Vack) is not too bad looking. (The last time friends sat in a hot tub they went through time in the Hot Tub time machine.) To make matters worse, Ruth contacts STD from the ghost as well.

Atkin’s film plays weird funny. The best way to describe it is the scene where Ruth meets her doctor about to take her blood. “Hope you’ve enough to spare.” When Ruth gives the doctor an odd look, he confesses that it is a joke and that he has tried standup comedy. LACE CRATER plays its comedy whether the audience gets it or to, and mainly plays in the way the story unfolds.

It would help connect the audience to the film if director Atkins made Ruth a more sympathetic character. Ruth is just there, having the ‘roll in the hay’ with the ghost and that is it. Nothing much is also known about Ruth’s background.

Near the end, writer/director turns up the angst with Ruth’s behaviour. It is here that the film slides into creepy horror. Ruth barfs black stuff all over the floor at a party, freaks out and goes back to the guest house to meet the ghost. This is where the film falls apart. Atkins starts to take the film too seriously, complete with explanation what happened to the ghost before he died. The rules are dealt out, the ghost says and he has to take them without question. Really? Atkins implies the same for his film. The only difference is that the audience need not have to take them.

LACE CRATER played last year at the Toronto International Film Festival in the Vanguard section. The Vanguard section is the festival’s oddest section where the weirdest films often uncategorized fall into. LACE CRATER clearly falls in this section. Be prepared for LACE CRATER, whether you get it or not!

What happens when you have sex with a ghost? One can google the answer or watch this film. The former appears the better solution. Atkins also leaves LACE CRATER with a open ending with still questions unanswered.

The film opens this week in NYC and is available now on VOD.

Also, Free logline submissions. The Writing Festival network averages over 95,000 unique visitors a day.
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BAD MOMS (USA 2016) ***

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bad_momsBAD MOMS (USA 2016) ***

Directors: Jon Lucas, Scott Moore

Stars: Mila Kunis, Kathryn Hahn, Kristen Bell, Christina Applegate

Review by Gilbert Seah

he story centres on a young mother, Amy Mitchell (Mila Kunis) who appears to have the perfect family. She has a good mortgage broker husband, two smart over-achieving children and a career. But she is overworked and the husband does not do much except maybe watch porn. She catches him, kicks him out and finally has had it at being a good mom. Teaming with two friends Carla (Kathyrn Hahn) and Kiki (Kristen Bell) who she gets drunk with, she decides, with them to f*** it and become BAD MOMS. Amy does not make breakfast for her kids anymore and stops going to her meaningless job meetings.

The film picks picks up when the three meet the good moms headed by the head of the PTA, Gwendolyn Jones (Christina Applegate). The war starts when Amy decide to run for the post of the head of the PTA.

If the film sound trivial, it actually is. But the script by Lucas and and Moore, treats its subject very seriously. This is the comedy duo that did the successful HANGOVER male raunchy comedies. BAD MOMS does the same for the opposite sex. So expect lots of foul language and lewd humour. The moms here get drunk, laid and stoned. For the most part, the males (husbands) in the film are all idiots (like the black school principal), clueless (Amy’s husband) or sexual objects (sexy latino Jay Hernandez s Amy’s fling). But as the script is written by two guys, some redeeming qualities are written into Amy’s husband’s character as the two do share a moment and hug, after a big quarrel.

One of the best things about BAD MOMS is actress Kathryn Hahn. She has a supporting role as Carla, one of Amy’s best friends who drinks and sleeps her way as a ultra bad mom. Hahn has the ability to do both drama and comedy exceptionally well. In the recent CAPTAIN FANTASTIC, she played the victimized mom at the dinner table. In BAD MOMS she proves she is versatile also as an antagonist, Carla. When not spurring Amy on to do bad things, her character is hounding other victims. Hahn brings the most laughs in the movie, steals very scene and still has the audience wanting for more. It would be difficult to imagine how funny the film would be without her.

The product placements (Arby’s and Bed Bath and Beyond) are a little too obvious. The supermarket sequence where the three go on a drunken shopping spree is simply priceless. Hahn is the funniest of the three. This segment alone is worth the price of the ticket. The film includes two cameos by Martha Stewart (very funny) and Wanda Sykes (not so funny).

BAD MOMS ends up a guilty pleasure for all mothers. There are quite a lot of mothers out there that make up a good target audience number. The film should do for females what The HANGOVER films did for the males. Even the males can sit through and laugh through BAD MOMS.

Movie Review: Angry Indian Goddesses (Indian)

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angry_indian_goddesses.jpgANGRY INDIAN GODDESSES (India 2015) ***
Directed by Pan Nalin

Starring: Tannishtha Chatterjee, Anuj Choudhry, Rajshri Deshpande

Review by Gilbert Seah

The first thing that comes to mind when one hears of the film ANGRY INDIAN GODDESSES is the reason the film is called that. The reason becomes apparent midway during the film when all the characters imitate the Angry Goddess Kali, the Goddess who destroys all evil with her anger. Each character do their best to imitate the Goddess as they pose (their tongues sticking out far as possible) for a group picture. Kali is a Hindu Goddess, the Divine Mother or Mother of the Universe and a destroyer of evil forces.

The film’s characters are not Goddesses in any sense of the word. They are more victims than anything else, but they try to live with their problems with the help of the group. This is the premise behind the new film by Pan Nalin (2001’s SAMSARA) that is billed as India’s first female buddy film. The film was first screened at the Toronto International Film Festival where it was runner-up for the People’s Choice Award. It was also screened at other festivals including Toronto’s Inside Out LGBT Film Festival.

The film is set in Goa, the west Indian state of India known for its beaches. For those unfamiliar, Goa is a popular as a seaside resort, which is an excuse for some pretty beautiful beach/sea scenery, Indian style, a welcome change.

The main character is Frieda (Sarah Jane Dias), a strong-willed and celebrated photographer. Frieda gathers her closest friends on the eve of her wedding. The diverse (and often hilarious) group, a snapshot of modern Indian society includes Su (Sandhya Mridul), a businesswoman and mother; the engaging Nargis (Tannishtha Chatterjee); Jo (Amrit Maghera), an aspiring Bollywood actress; Pammy (Pavleen Gujral), a housewife; Mad (Anushka Manchanda), a singer-songwriter; and the house servant, Lakshmi (Rajshri Deshpande). Everything’s set for a night of celebration. There is only one issue: Frieda will not say who her betrothed is. But as the film has been screened at the Inside Out Festival, it is an easy guess that her betrothed is a woman, who turns out to be Nargis.

Nalin aims his film to be a crowd pleaser. His film moves fast as evident when the film opens when he introduces the audience to 5 of the characters as well as their problems. Jo is asked to do many takes and to show off her body before she storms off the set; Lakshmi is abused for her songs and so on. The film contains too many characters and too many female issues to be effective, though Nalin tries quite hard. It takes a while before the audience can differentiate one character from the next. Too many issues tackled include arranged marriage, gay marriage, gang rape, wife abuse, activism among others. All the actresses try very hard with the result of most scenes ending on a high note.

But the male roles are mostly underwritten with the males present to forward the purpose of the female course. One group of males appear on bikes just to mock and sexually abuse verbally the girls. One shirtless hunk (Anuj Choudhry) is present or the 6 girls to ogle as a sex object. Frieda’s absentee father is another character not progressive enough to accept a same-sex marriage. Nothing is mentioned about Freida’s mother.
Despite the film’s flaws, Nalin’s film is a light and easy watch for the most part, succeeding more as entertainment than a message film. The ending turns too preachy.

Movie Review: Café Society (2016) Directed by Woody Allen

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cafe_societyCAFE SOCIETY (USA 2016) ***1/2
Directed by Woody Allen

Starring: Jesse Eisenberg, Kristen Stewart, Steve Carell, Corey Stoll

Review by Gilbert Seah

In Woody Allen’s new romantic comedy, Allen transforms into Humphrey Bogart through Jesse Eisenberg. The famous CASABLANCA story is retold, Allen style with the hero falling in love with two women but giving his first love up as Bogart gave up his love for Ingrid Bergman in the famous closing scene.

CAFE SOCIETY is Allen’s tribute to old Hollywood, its people and its glamour. The tribute takes the form of the coming-of-rites passage story of young Jewish NYC boy, Bobby Dorfman (Jesse Eisenberg). Bobby leaves his family in NYC hoping to find a new life in Hollywood with the help of his successful Uncle Phill (Steve Carrell) – the hottest talent agent around. In the process he falls in love with his Uncle Phill’s secretary, Vonnie (Kristen Stewart) who is having an affair with Phill. Vonnie finally decides to marry Phill (the older gent always gets the younger girl in Woody’s films, e.g. MANHATTAN and in his real life). Bobby discovers he prefers NYC and returns home, eventually settling down by looking after his gangster uncle Ben’s (Corey Stoll) nightclub. He falls in love and marries Veronica (Blake Lively). An unexpected visit from Phill and wife Vonnie stirs up memories just as Ingrid Bergman’s visit to Bogart’s nightclub in Casablanca did.

CAFE SOCIETY is not the best of Allen’s films but it is not without its delights. For the especially Allen fan, there is much to enjoy in terms of film references. For one, this is Allen’s second tribute to Bogart after his play and film PLAY IT AGIAN, SAM. Allen gets to narrate his own film, putting a good perspective of where everything is going. He is s too old to star in his films and he knows it. Eisenberg makes a new younger Allen, complete in diminutive stature, manners and outfits.

Bobby’s belted baggy Khaki pleats are similar to those often worn by Allen in his films like ANNIE HALL and MANHATTAN. In one scene where Eisenberg says, “I am opening a bottle of wine to let it breathe,” he even sounds like Allen. Though CAFE SOCIETY is less subtle at times, for example in the use of the melody of “I Only Have Eyes for You,” during the last meeting between Bobby and Vonnie, CAFE SOCIETY still succeeds as one of Allen’s romantic comedies.

Allen attracts the best cinematographers like Oscar winners Gordon Willis Jr. and Janusz Kaminski. CAFE SOCIETY is beautifully shot by 3-time Oscar winner Vittorio Storaro (THE LAST EMPEROR, REDS, APOCALYPSE NOW) as evident in the ceiling view of a New Year’s party and in all the exterior shot segments.

CAFE SOCIETY is Allen in comedy mode though the humour is less manic or absurdist but more subtle, more profound. Some examples include a Hollywood writer introducing himself to Bobby at a party: “You have never heard of me, I am a writer”, or “Timing is everything in life!” But the key quote of the film is Allen’s description on life: “Life is comedy but written by a sadistic comedy writer.” The film’s funniest line is as in his other films, one that pokes fun at being Jewish. Bobby: “I’m a bit drunk. I don’t usually mix champagne with bagels and lox.” Yes, if everything else fails in Allen’s film (which doesn’t here), there is always his humour.

CAFE SOCIETY, though not Allen’s best, still comes with high recommendations.