Many critics and viewers have felt that Blue Jasmine is Woody Allen’s best film since Match Point. The accompanying implication is that the intervening works – seven movies, starting with Scoop and ending at To Rome with Love – are just international chaff, too lightweight to get interested in. If you think, as I do, that such a judgment confuses solemnity with seriousness, that Match Point represents one of the worst dips in Allen’s career, and that the later films were often funny and showed at least flickers of artistic life, you have a bit of explaining to do.
The chief difference between Blue Jasmine and Match Point is that the new film is magnificently acted, where the other wasn’t really acted at all. [podem continuar]
Michael Wood, no LRB. Admitindo que não seja o melhor, é provavelmente o mais inteligente dos críticos de cinema.