Cafe Society Review: 6 Ups & 3 Downs

Ups

6. It's One Of Allen's Best-Looking Films

Cafe Society Jesse Eisenberg Blake Lively
Lionsgate

Easily one of the film's most striking elements is its absolutely gorgeous cinematography, by way of legendary Oscar-winning lenser Vittorio Storaro (Apocalypse Now, The Last Emperor).

This is also Allen's first movie shot on digital, and it's a damn fine start: Storaro makes the most of both the Hollywood and New York locations, painting the former as glossy and sun-bathed while the latter is more muted and Earthy.

Allen also employs fantastic use of long takes and transports his camera around during shots far more often than normal. Hell, there's even a beautiful, Manhattan-esque shot of the Brooklyn Bridge for good measure.

Allen's films normally pop visually and make terrific use of their gorgeous locales, but Cafe Society just might be his most visually lavish effort since Manhattan.

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Stay at home dad who spends as much time teaching his kids the merits of Martin Scorsese as possible (against the missus' wishes). General video game, TV and film nut. Occasional sports fan. Full time loon.