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Café Society

Comedy . Drama . Romance

The story of a young man who arrives in Hollywood during the 1930s hoping to work in the film industry, falls in love, and finds himself swept up in the vibrant café society that defined the spirit of the age.

Actors: Blake Lively , Kristen Stewart , Jesse Eisenberg , Steve Carell , Parker Posey , Corey Stoll , Ken Stott , Anna Camp , Stephen Kunken , Sari Lennick , Sheryl Lee , Todd Weeks , Paul Schackman
Directors: Woody Allen
Country: USA
Release: 2016-08-05
More Info:
  • Rex Reed

    Romantic, bittersweet and funny as hell, Café Society turns Hollywood inside out, rooting through the superficial tinsel to find the real tinsel. You go away gobsmacked, beaming and happy to be both.

    New York Observer Full Review
  • Calvin Wilson

    In his best performance since “The Social Network,” Eisenberg is perfectly cast as the neurotic Bobby. But the film truly belongs to Stewart, who brings to Vonnie a haunting luminousness.

    St. Louis Post-Dispatch Full Review
  • Richard Roeper

    Café Society is a gorgeous and lightweight confection, a love letter to the Hollywood of the mid-1930s, as well as the New York of the same era.

    Chicago Sun-Times Full Review
  • Jonathan Romney

    A bittersweet comedy of manners that sees Allen pushing the boat out stylistically and in narrative ambition, even as he treads familiar ground.

    Screen International Full Review
  • Robbie Collin

    Café Society isn’t Vonnie’s story, but it’s Stewart’s film.

    The Telegraph Full Review
  • Nico Lang

    a great deal of Café Society is shaggy and unfocused, it’s at least pleasing in its shapelessness. Café Society is not quite one of Woody Allen’s best, but it’s good enough to make you hope that he never leaves old Hollywood. The era suits him.

    Consequence of Sound Full Review
  • Glenn Kenny

    It’s the filmmaking around the writing that casts a particular spell. Full Review
  • Peter Travers

    Café Society isn't peak Allen, in the manner of such recent high points as "Midnight in Paris" (2011) and "Blue Jasmine" (2013), but the film — which could be helpfully subtitled Manhattan v Hollywood — feels lively, lived-in and fallibly human.

    Rolling Stone Full Review
  • Carson Lund

    As clarified potently by the film, most of life is spent distracting oneself from matters of the closest personal significance.

    Slant Magazine Full Review
  • Eric Kohn

    Cafe Society works about as a well as a decent-but-not-great Allen movie can.

    indieWIRE Full Review
  • Jessica Kiang

    What little shock of the new the film can provide us with comes from the honeyed cinematography by Vittorio Storaro which uses silhouettes, graphic compositions and glowing closeups in an often genuinely breathtaking manner. But it also comes from the performances.

    The Playlist Full Review
  • Ben Croll

    It’s a perfectly enjoyable, perfectly forgettable nostalgi-comedy that will be taken to task for not being anything more.

    TheWrap Full Review
  • Bill Goodykoontz

    The movie isn’t particularly hard to figure out and doesn’t try to be. Its charms lie more in what the actors make of characters that could have been cliches (or, if you’re in a kinder mood, archetypes) and its gorgeous look.

    Arizona Republic Full Review
  • Joe Morgenstern

    The whole film feels charmingly insubstantial, just as it’s meant to, with beautiful settings, amusing people and, for philosophical context, a classic Woody Allen one-liner: “Socrates said the unexamined life is not worth living, but the examined life is no bargain.”

    Wall Street Journal Full Review
  • Kenneth Turan

    Cafe Society is of course funny, but it also ends up, almost without our realizing it, trafficking in memory, regret and the fate of relationships in a world of romantic melancholy where, as someone says, "in matters of the heart, people do foolish things."

    Los Angeles Times Full Review
  • Joe Dziemianowicz

    The rom-dram is wistful and wisecracking, boasts a polished ensemble and is such a period looker you wish you could time-travel to the Jazz Era.

    New York Daily News Full Review
  • Bilge Ebiri

    Lovely visuals, terrific performances, renewed ambition: There's enough good in Café Society to make it worth your while — and also to make you wish it were better.

    Village Voice Full Review
  • Anthony Lane

    If this film has a secret, it dwells in the cinematography — by Vittorio Storaro, no less, who shot “The Conformist,” “Last Tango in Paris,” and “Apocalypse Now.” He worked with Allen on a segment of “New York Stories” (1989), but Café Society marks their first full-length collaboration, and the result is ravishing to behold.

    The New Yorker Full Review
  • Todd McCarthy

    Wispy and familiar in its themes and humorous strokes, Café Society benefits from an exceptionally adept cast led by Jesse Eisenberg, Kristen Stewart and Steve Carell, as well as from a luminous glow that emphasizes both the old Hollywood nostalgia and the story’s basis in dreams and artifice.

    The Hollywood Reporter Full Review
  • Amy Nicholson

    Café Society is a light-fingered, backstabbing trifle. Despite the occasional sour zinger, the film is so retro golden that old-timey miners would run the reels through a sieve.

    MTV News Full Review
  • A.A. Dowd

    Woody, now in his 80s, narrates the movie, which lends it a vaguely, symbolically autobiographical slant.

    The A.V. Club Full Review
  • Michael Phillips

    Cafe Society is a good-looking nothing, but there are times — thanks more to Allen's direction than his writing, and thanks mostly to the people acting out the masquerade — when "nothing" is sufficient.

    Chicago Tribune Full Review
  • David Edelstein

    It’s an unusually warm world, full of helpful wealthy people and friendly faces. That’s the conundrum. It’s too shallow to nourish the spirit of a man like Bobby. But it’s too rich to leave.

    New York Magazine (Vulture) Full Review
  • A.O. Scott

    It is, overall, an amusing little picture, with some inspired moments and some sour notes, a handful of interesting performances and the hint, now and then, of an idea.

    The New York Times Full Review
  • John Bleasdale

    Eisenberg avoids, for the most part, doing a Woody Allen impersonation, but his bumbling guilelessness is wearing and Stewart seems out of place, unable to ever quite get over being Kristen Stewart in a Woody Allen movie. In fact, both young leads seem nervous to have been invited and often appear simply pleased to be there.

    CineVue Full Review
  • Owen Gleiberman

    The movie, watchable as it is, never quite overcomes the sense that it’s a lavish diagram working hard to come off as a real movie.

    Variety Full Review
  • Peter Bradshaw

    Woody Allen’s Café Society is a sweet, sad, insubstantial jeu d’ésprit, watchable, charming and beautifully shot by Vittorio Storaro – yet always freighted by a pedantic nostalgia for the 1930s golden age in both Hollywood and New York, nostalgia which the title itself rather coercively announces.

    The Guardian Full Review
  • Giovanni Marchini Camia

    Café Society is a quintessential later-period Woody Allen film. That is to say, it’s utterly mediocre.

    The Film Stage Full Review
  • Tasha Robinson

    Café Society is an incredibly pretty movie, and a generally unobjectionable one. But like so many Allen films, it feels like it was made primarily for his therapist, and letting the rest of the world in to see it and make their own diagnoses is an afterthought.

    The Verge Full Review
  • Kate Taylor

    Gorgeously shot by cinematographer Vittorio Storaro, who takes much delight in exposing the blinding sunlight and dusky interiors of old Hollywood, the film is lightly entertaining but largely pointless.

    The Globe and Mail (Toronto) Full Review
  • Marjorie Baumgarten

    Come for the sophisticated charm and intoxicating wit suggested by the term “café society.” Stay for the rote charms and recycled bons mots offered up by Woody Allen’s umpteenth movie, a decidedly lesser entry in the director’s vast catalog but, as with all Allen movies, a cut above most everything else that passes for comedy these days.

    Austin Chronicle Full Review
  • Mark Feeney

    Café Society is a romantic comedy where the romance is lackluster and the comedy an afterthought.

    Boston Globe Full Review
  • Ann Hornaday

    Its arresting visual design aside, Cafe Society is upper-middle-late-period Allen, a modestly diverting ditty that will never go down as one of his greats. (But, as most can agree, Allen at his most middling is still better than many hacks at their best.)

    Washington Post Full Review
  • Kyle Smith

    A scrapbook of bits from better Allen films that builds up to a hearty shrug.

    New York Post Full Review
  • Steve Persall

    Vittorio Storaro's cinematography is superb, casting gauzy glows and sensual silhouettes against impressively designed sets. Allen drops a few philo-cynical lines worthy of his reputation but not nearly enough.

    Tampa Bay Times Full Review
  • Dave Calhoun

    The soundtrack offers the expected jazz, while Allen himself, now sounding mumbly, offers intermittent, awkward narration. In the pantheon of his films, it’s a pretty but minor distraction.

    Time Out New York Full Review
  • Roger Moore

    This is as decrepit and tone-deaf as any movie he’s ever made, a corpse of a period piece, production-designed to the hilt, distractedly directed, a failure that hints at The End of Woody.

    Movie Nation Full Review
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