Cassandra's Dream Review

Posted by Chad Webb on 01.23.2008

For his 42nd feature, Woody Allen has gone to the well one time too many.

Ewan McGregor: Ian Blaine
Colin Farrell: Terry Blaine
Hayley Atwell: Angela Stark
Sally Hawkins: Kate
Tom Wilkinson: Uncle Howard
John Benfield: Mr. Blaine
Claire Higgins: Mrs. Blaine
Martin Burns: Philip Davis
Written/Directed By: Woody Allen
Release Date: January 18, 2008
Running Time: 108 minutes







PG-13 for thematic elements, some sexual material and brief violence.

For Woody Allen fans, Cassandra's Dream marks a sad truth. The 72-year-old filmmaker has very little gas left in the tank. Some filmmakers almost improve with age, like David Cronenberg or Sidney Lumet, but Allen is certainly scraping at the bottom of the barrel. His latest film is basically a re-paving of the same road, now for the third time. The road may look shiny and new on the surface, but deep underneath it is still the same stretch of asphalt Allen has driven over again and again. Most movie buffs share a special place in their hearts for Woody Allen, but sometimes he makes it impossible to for anyone to express it accurately. This is yet another exercise in getting away with murder, and despite an intoxicating cast, this trip feels all too familiar and packs little impact.

The story commences in London where two brothers have just scrounged together enough money to buy a small sail boat. They are Ian (Ewan McGregor) and Terry Blaine (Colin Farrell). Both men are in dire need of cash. Terry is a chronic gambler who does not know when to stop while he's ahead, so eventually he winds up with a debt of 90,000 pounds. Ian is desperate to leave the family restaurant business and join a hotel investment deal in America with a friend. He has also met a beautiful young stage actress named Angela (Hayley Atwell) with whom he is infatuated. They only solution left is their Uncle Howard (Tom Wilkinson), who is wealthy and lives in California. He arrives for his sister's birthday, and the brothers request his assistance for supplying the necessary funds. However, this time, Howard asks them a favor first. This is no ordinary errand. It involves the killing of another human being. The deed consumes the lives of the brothers, but in different ways. As the situation escalates and the effects worsen, it becomes unclear how it will all conclude, and if Ian and Terry can ever have the life they wish.

There are two Woody Allen DVDs in my collection. One is the brilliant Crimes and Misdemeanors, which follows an ophthalmologist who must do away with his mistress after she threatens to reveal the affair to his wife. A second storyline revolves around a filmmaker who is fascinated with a certain woman. The other is 2005's potent Match Point that centers on a former Tennis-pro turned instructor who attempts to juggle two women. When he can't, he must choose between them, and his only idea is unthinkable. You get the picture right? Woody Allen has explored the notion of murder, the psychological burdens, the consequences, and committing the act itself as consummately as any filmmaker in history, but someone needs to tell him to move on. The Allen-esque methods of examining murder tales have been scavenged thoroughly, and excavated in full. This severely cripples the muscles and skin of Cassandra's Dream. What further handicaps Allen is that the plot contains similarities to Sidney Lumet's Before the Devil Knows Your Dead. Hence, the Weinstein Company chose to construct the trailer with the same tone as that riveting 2007 thriller.

The interesting fact is that the majority of the acting is uniformly superb. The problem is that the cast dissolves into the wishy-washy screenplay and the spineless plot. As Ian Blaine, Ewan McGregor is compelling, but unable to overcome his insipid lines on occasion. The manner in which McGregor takes charge of certain scenes is stimulating however. For example, in an effort to help his brother with his large debt, he "borrows" some cash located in the family safe. When his father is ready to accuse a non-related employee, Ian confesses, but McGregor tackles this moment with such natural panache that several scenes similar elevate his overall turn. McGregor reveals signs of his undeniable ability to hypnotize when Ian's existence is revitalized by the planning and execution of the slaying. He can handle stress. Ian presents himself to Angela as a rich property developer, and he drives a gorgeous Jaguar, among other flashy vehicles, to impress people. The Jag he rolls around in was being fixed at the garage where terry is a mechanic. He is quite comfortable masking his own dilemmas with lies.

Ever since the disastrous Alexander, or any of its dozen cuts, Colin Farrell has made a point to augment his game for the world. He has done so in Miami Vice, The New World, and now Cassandra's Dream. He gleams as Terry, the dark and depressed sibling who is waist deep in gambling fees and on the verge of drowning in his own booze. He also smokes constantly in case that wasn't enough. Terry is only pleasant when he is on a hot streak, but he is unaware of his limitations. After the proposal of this murder is ingrained in his head, he continues on a downward spiral of being mentally and physically unstable with a dangerously edgy attitude. If judging the book by its cover, McGregor and Farrell look spectacular as brothers, and their chemistry is adequate, but the pair fails to bring heart to the table as legitimate family members.

The woman of Ian's fantasies is a gutsy stage performer named Angela. She is portrayed by Hayley Atwell, who makes her feature debut, and was previously seen in Pringles commercials. "Once you pop, you can't stop." Nevermind. She is definitely attractive, but is not exactly amazing in terms of range and poignancy. I detect potential, but she is used as borderline eye candy here. Tom Wilkinson, who just nabbed a Best Supporting Oscar nomination, is consistent, reliable, and gripping even when the material suffers. As Uncle Howard, his request is a hefty one to say the least. I know what my reaction would be if my uncle asked me to take a life, regardless of my financial woes, but that is a different story. Wilkinson does his utmost to convince the audience that his plea is reasonable and mandatory. Sally Hawkins ranges from passable to fabulous as Terry's girlfriend Kate, though I expected more from her since she contributed to such gems as The Painted Veil and Vera Drake. Lastly, Philip Davis warrants attention for excellently transforming the minor role of as Martin Burns.

The authentic set decoration from Tatiana MacDonald, the elaborate production design of Maria Djurkovic, and the stunning cinematography of Vilmos Zsigmond is all undoubtedly sufficient. In addition, the score provided by Philip Glass is near infectious and lures viewers in from the beginning credits while swelling at the correct areas. This means the responsibility for the weaknesses of Cassandra's Dream fall squarely on the shoulders of Woody Allen. He is hiking over the same terrain that has no new uncharted paths. The difference is that Match Point and Crimes and Misdemeanors flourished because they relied on the moral/ethical insecurities and mysteries of one person. We were left to analyze their thoughts on our own. It was never spelled out as in Cassandra's Dream, which is essentially an identical formula with two people instead of one.

Woody Allen is going to overstay his welcome with London offerings much like he already has in New York. Perhaps he should venture to another country. The course the movie takes gradually becomes more predictable, and the ending leaves a sour aftertaste to an otherwise gloomy thriller. It has virtually no pizzazz which is disappointing considering the exertions of the bravura line-up. Allen has maneuvered himself into a corner with psychological murder stories much like he did with witty comedies. This causes some skeptics to wonder if he is capable of reaching success in other genres. Most would say no, but I think he could if he really had the desire. Therein lies the predicament. He seems content with limiting himself.

The 411: Cassandra's Dream was seen in a variety of film festivals in 2007 before being released in 2008. It was originally slated to drop during Christmas time, but it was delayed, and sadly I can understand why. At least it would have a better opportunity to make some money in January, as opposed to drowning in the heap of December. This is a poor thriller from Writer/Director Woody Allen. It is nowhere near as bad as his last film, Scoop, but his 42nd effort packs has no punch, except in the cast. The plot is so lackluster and worn that one cannot focus on the talents of McGregor, Farrell, and Wilkinson. Many high points could be noted, and to be honest, this is not unwatchable, but I would not go out of my way to see it or spend money on it.

Final Score:  5.5   [ Not So Good ]