Café Society (2016) Film Review

Woody Allen has been in the film industry for approximately 50 years and has hardly slowed down with his output that ranges from acting, directing and screenwriting. From the outright classics like Annie Hall and Manhattan to his more recent efforts Irrational Man and Magic in the Moonlight, he's been a staple of American cinema and has remained a critical darling since those early efforts, regardless of controversies revolving around sex abuse and cradle-robbing. But with that being said, it's quite clear when one looks over his filmography that there's a constant theme of romance and relationships between family and friends – hardly a major criticism, but an element that Allen seems adamant to drift away from his formula despite 50 years of work. And his newest creation, Café Society, appears to be no different in its approach, complete with a narration by Allen and his mannerisms transferred to his new lead protégé, Jesse Eisenberg. But with that, is it another hit for the neurotic auteur? 

It's a seemingly slave-free version of 1930s America, and a young man called Bobby Dorfman (Eisenberg) is fancying a change of pace from his life in New York City, where he works for his lazy father, and opts to move to the bright lights of Hollywood where his uncle Phil (Steve Carell) works as a talent agent. Naturally, he's enforced to take Bobby under his wing, so he teams him up with his secretary Vonnie (Kristen Stewart) to show him the ropes and introduce him to the city – whom Bobby instantly falls head over heels for. Unfortunately, she's already seeing someone, but that doesn't stop Bobby from trying. Not helping the scenario though is that the person she is seeing is none other than Phil himself, who's been cheating on his wife for a year with his co-worker. Also adding to the family drama back in New York is the factor that Bobby's older brother Ben (Corey Stoll) is a gangster and club owner who'll stop at nothing to keep it running, whilst his sister and her husband (Sari Lennick and Stephen Kunken respectively) face a cantankerous and noisy next-door neighbour. With a family like the Dorfmans, can young Bobby come out on top?

Judging from that basic plotline, one can easily tell that this is an Allen production, with occasionally witty scenarios and a lead character who could have easily been replaced by a much younger Allen, had the film been made in his prime. Whilst it's disappointing that he seemingly refuses to get away from these recurring conventions, it does still make for an interesting first half of a movie, thanks largely to the chemistry shared between the two leads and Eisenberg's pitch-perfect imitation of his boss. However, once young Bobby moves back to New York in the second half, the film begins to lose its footing; forcing in a new love interest in the form of Blake Lively and suddenly bringing in a lot more focus on the familial aspect than the romance at heart. It practically stalls with its major change in focus, and when it returns to the aspects of before a lot of the heart is lost.

Jesse Eisenberg's character may be a tad obsessed with his beloved Vonnie – to the point that one would have been creeped out about these days – but he sells his neurotic character incredibly well. Despite it being just another Woody Allen-type (didn't we just get that with Sausage Party?), he gives it his all to present a fine performance. Helping proceedings is the return of his recurring beau Kristen Stewart; having played together in Adventureland and last year's American Ultra, at this stage they've practically cemented their ability to work together. And thankfully, Stewart holds her own when without her male co-star also, putting her Twilight-hating critics to shame with her work here. Steve Carell makes for an interesting and multi-layered talent agent who all but disappears during the second half (despite being a prominent figure in the first); the dual work of Parker Posey and Paul Schneider make for limited but pleasant deviations for young Bobby; Corey Stoll seems to have walked on set from a different movie but makes for an entertaining subplot; Jeannie Berlin and Ken Stott as the parents are amusing detours; Blake Lively is fine enough in an, unfortunately, limited role, whilst Sari Lennick and Stephen Kunken are adequate in their only little storyline. 

To top it all of, there's Woody Allen himself in the director and screenwriter's seat (his narration is fine, but the audio quality is a little too quiet), and he does a good enough job. It's hardly going to be remembered as one of his best works – especially when considering his long line of movies from the past that he'd never be able to top regardless of what he tries – but Café Society is still one of his better efforts. And with Vittorio Stararo - another classic filmmaker – in the cinematography chair and a classy musical score behind it, it's still a well-made production.

Café Society is not going to be remarked in the future as being a classic in the same veins as Annie Hall or Manhattan, for it is a problematic feature that loses its grip when the action moves back to the Dorfman home of New York City. But with a string of great performers and some occasional wit added to the mix, it can't be said that a visit to this 1930s-set establishment is completely a waste of time. If anything, it may be a welcome starting point for the modern cinephile to get into the works of a great, if repetitive, auteur before they get into the juicy stuff. 6/10.