User reviews

Everyone acts very well, and the whole film would have been really good if it hadn't been for this weird narrator the whole way through who sounded like he was telling children a story even when saying things like "they went to bed together". It was weird. I also feel if it had been more dialogue based we could have got a greater grasp of the characters. I watched it without subtitles but understood the relationship of Juan Antonio and his ex-wife (mostly spoken in Spanish) than I did of Doug and Vicky which just seemed to lack a huge amount of depth. There needed to be some redeeming feature Vicky and Doug's relationship.

Anyway well acted but yeah the narrator ruins it. Javier Bardem is amazing as usual.

Barcelona is recognizable enough and exotic enough to frame the latest complication from Woody Allen. Allen himself claims to care very little about films. He doesn't consider them the center of his life. Strange, because I do, Woody Allen without his films is...well I don't know who or what he is. Here he ventures again outside New York in a shape and form that reminded me a little bit of Jacques Rivette. Scarlet Johansson and Rebecca Hall, as the blond and the brunette of the title, make a great pair of opposites or seemingly so. Javier Bardem is the artist that comes to ruffle their world and the spectacular Penelope Cruz (getting better and better with every movie) is the hysterical side of the artist's past. We spend a great deal of time sitting at tables eating and drinking while a voice over guide us through their physical and emotional journey. I was delighted, entertained ever aroused. Woody Allen keeps surprising and he's got it whether he cares about it or not.

Although this film has bizarrely been described as breezy summer entertainment by some top critics (which leads me to wonder if they saw the same movie I did, or just the first half hour), "Vicky Cristina Barcelona" is the closest thing to the sort of examination of relationships that Allen became famous for in quite some time ("Anything Else" counts, I suppose, but lacks the sharpness this film has), and although it is far from as weighty as some of his dramas or even some of his comedies, this is his first really inspired script in a while, featuring a cast of detailed, well-developed characters, some razor-sharp observations on relationships, and a wicked sense of humor.

Although I never thought Woody's work this decade was particularly poor (other than "Cassandra's Dream" and although I'm in a minority "Match Point"), it has mostly been completely inconsequential and almost entirely dependent on broad characterizations and heavy plotting rather than real people and awkwardly comic situations (which has always been Allen's strong suit). A career-best performance from Scarlett Johansson, a wickedly entertaining turn from Penelope Cruz, and the absolute revelation that is Rebecca Hall form a great cast along with Javier Bardem in a role that may surprise the majority of the American public (well, for most of the movie, anyway). You can feel Allen's mark on their mannerisms, but they all seem to disappear into these characters, that's how good they are.

I'm keeping this as spoiler-free as possible, because it's really worth going into the theater not expecting anything in particular and savoring the film's often unexpected but never contrived plot twists and turns. All you should know is that Vicky (Rebecca Hall) and Cristina (Scarlett Johansson) go to Barcelona for the summer and things get complicated when they meet a charming, mysterious, and rich painter (Javier Bardem) and he makes a rather upfront proposition to both of them. It's best if you know nothing of how Cruz' character impacts the film prior to watching it.

In relation to Allen's other work I thought it was interesting that he never attempted to analyze sex. The whole movie is in many ways about sex, and there is a lot of the expected philosophical and psychological examination of the relationships between the characters in the film, but sex itself is never analyzed as it is in much of Allen's work, and is instead treated as the impenetrable mystery it is. That said, Allen's script is extraordinarily nuanced, something that I haven't expected from his writing in a while. Sure, the characters still represent opposing romantic philosophies, but there's a spark in the writing that makes these feel like real people as opposed to mere characters. That spark, that chemistry is there throughout "Vicky Cristina Barcelona", it's there in the vibrant cinematography by Javier Aguirresarobe, it's there in the performances, it's there in the shot composition, and it's there in the editing, and in pretty much anything else I haven't mentioned yet.

The first forty minutes or so of "Vicky Cristina Barcelona" may be the sort of romantic comedy (very good romantic comedy, at that) that the advertising campaign seems to suggest it is, but for the rest of the film there's the sort of pessimistic optimism that colors much of Allen's work (if that makes sense, pretend you didn't read it if it didn't), and let's just say it doesn't end well for these characters. There's real complexity and intensity in this film, and all I have to say is this: Woody Allen is back, the perceptive, intelligent examiner of the human heart, that is, not what we've had for the past while. To say this is one of his best films would be ignoring the fact that through the 70's and 80's he pretty much made nothing but great films, but I can at least say that this is on par with some of his better work.

8.5/10

Who wouldn't like this film, and what's not to like? You have three of the most beautiful actresses working this century in Scarlett Johansson, Penelope Cruz and Rebecca Hall, traipsing across some of the most gorgeous landscapes here on planet Earth.

And they're kickin' it with one of the coolest dudes in Javier Braden.

Oh, and it's summertime.

In Spain, in case you didn't catch that.

Look, some movies are just good for the ride, or cruise.

Like a vacation.

I'll tag along.

Oh, there's twists and turns and bumpy roads a strange bedfellows, but I don't mind.

I'm just taking it all in and falling deeper in love with Rebecca Hall, who shines the brightest as per usual.

Thankfully, the elder director isn't in front of the camera in this one with these young actresses falling for him.

Movies don't have to change your life all the time, but can they take you some place nice for under two hours?

Yes, they can.

And this one does.

Vicky (a neurotic and sexy Rebecca Hall) and Cristina (a neurotic and gorgeous Scarlett Johansson) are two American tourists in Spain examining their differing views on love in Woody Allen's breezy and alluring "Vicky Cristina Barcelona". Amidst a tempestuous summer in Barcelona, the ladies are both seduced by a free-thinking painter (a perfect Javier Bardem) whose own life is complicated by his still passionate relationship with his ex-wife (a devastating Penelope Cruz, who has never looked more beautiful).

Much like the change from New York City to London invigorated Allen in "Match Point", this vacation to Spain has revived some of the director's more artistic aspirations. The scenery is postcard perfect but drenched in that same dizzying lushness that made Allen's view of NYC so intoxicating in "Manhattan". The churches, the homes, the art museums, the countryside, the intimate city streets and touristy details make you feel like you are visiting Barcelona along with Allen and his cast.

There's also sharpness to the trademark Woody dialog that has been missing for quite some time. Like all of Allen films, this one is endlessly talky, but there's some great subversion when certain lines that seem like throw-aways actually pack a punch when given a second thought. When Bardem first attempts to talk Johansson's character into bed, he says something clichéd about her being hard to please. Quick witted, Johansson replies, "I'm famous for my intolerance." She says it casually, but it packs a bite as it's the complete antithesis of her character's outward desire to be someone who rallies against cultural norms, and she presents herself as someone who is easy-going and tolerant of all.

Allen also displays a keen sense of pacing when he creates tension in his build up to Cruz's appearance after her character is endlessly talked about but never seen until about half way through the film. When Cruz finally arrives, her moody whirling dervish of a performance is the perfect spice to liven up the soupy proceedings. Her seething, fiery line readings combined with looks that could kill make her the front-runner for Best Supporting Actress at the Oscars.

The baseline archetypal characters are essentially clichéd, but the way in which Allen handles all of their interpersonal relationships is fairly sophisticated and entertaining even when it grows absurd. There is of course that kiss between Scarlett and Penelope but also some moments of Lynchian-lite when Allen photographs the brunette Hall and blonde Johansson similarly to make them seem like they are two sides of the same woman. There's even more weirdness when die-hard Woody fans realize that in some perverse way Scarlett Johansson's character is the "Woody" part--as in any film he does not star, there is always one character who represents the part he would've played had he been in it. However, film buffs will enjoy some of the nice touches like when Hall and another go to see Hitchcock's "Shadow of a Doubt" (one of my all time favorite films) or the repetitive use of a Spanish guitar in the soundtrack whenever Bardem and Hall get together. But then there's the mostly unnecessary voice-over narration that fills in expository gaps and shows Allen can still be a lazy tactician.

Woody Allen has always been an acquired taste, even more so in his latter years when he sometimes forgets how to provoke, but his fans should be delighted with this latest European flavored effort. In the end, you'll feel like Javier Bardem is the luckiest man in the world, Penelope Cruz is operating at the echelon of her appeal, and Rebecca Hall and Scarlett Johansson, well, they'll always have Barcelona.

I just got back from a free screening of this movie. Wonderful, brilliant, thought provoking, funny, great story in the way only Woody Allen could do. The acting was great, the writing was great, the story was great. As well as the fact that it wasn't a poor rehash of Crimes and Misdemeanors like Match Point and Cassandra's Dream. So refreshing on all levels. Javier Bardem embodies the character and truly allows me to forget about his role in Old Country. Patricia Clarkson, a gem as always. The girls were all great. Had not been impressed with Scarlett Johansson since Lost in Translation and was bored with her work in the last of his films but she held her own and did the part great. Penélope Cruz was wonderful, vibrate and funny especially when doing the Spanish. At 71 the man still has it and has rehashed the place in my heart where I hold his wonderful art. Simply happy and fulfilled. Thank you Woody!

Vicky Christina Barcelona isn't quite the work of genius that several critics are making it out to be, but it is Woody Allen's most solid film in nearly a decade and by far his sexiest.

I will admit that the claims that it's his best movie in 20 years may have raised my expectations unfairly. After all, the past two decades has brought us Sweet and Lowdown (inspired Sean Penn and Samantha Morton), Another Woman (inspired Gena Rowlands), Husbands and Wives (inspired Judy Davis), Bullets Over Broadway ("Don't Speak!") and what, in my humble opinion, is his most extraordinary film ever: Crimes and Misdemeanors.

That said, there is much in the film's Plus Column. Bardem has never been sexier in English. Rebecca Hall is a sublime revelation. Scarlett Johansson does her most consistent and least grating work since Girl With the Pearl Earring. The supporting cast is a treasure trove of great character actors: Kevin Dunn (usually but effectively charmless), Chris Messina (a complicated mix of sexy and dull), Pablo Schreiber (virtually a cameo), and Patricia Clarkson (earthy, tragic and terrific as always).

And then there's Penelope Cruz. Incapable of wrong-doing in my eyes since All About My Mother, she is everything you've heard she is. At first, the character appears to be another version of Rahda Mitchell's bad Melinda only dark and Spanish. But she evolves and blossoms, like a mushroom cloud in slow motion.

The story is simple and the structure is a bit unwieldy. As a result, the film feels longer than it is and while it does saunter, it's never boring. The screenplay seems more concerned with re-arranging the configurations of lovers and exploring its themes than it does with sustaining the dramatic tension.

The films only significant, though ultimately not fatal, flaw is Miss Johansson. For the legions who thought Javier Bardem could generate romantic and sexual chemistry with anyone or anything, well, I have bad news. When she is sharing the screen with both Bardem and Cruz, Johansson's limitations as an actor and as a screen presence.

Ultimately, though, Vicky Christina Barcelona is still a worthwhile endeavor. An enjoyable romp filled the requisite angst and passion of Woody Allen's better efforts. Best of all, there's Spain and Barcelona. The landscapes, people and architecture provide even more spectacular real estate porn than Melinda & Melinda. Not only does it make you want to go to Barcelona, it will make you feel like you've lived there and loved it.

Despite its unevenness,

Vicky Cristina Barcelona is among the cream of the Woody Allen crop, in the midst of Annie Hall, Manhattan, Hannah and Her Sisters and Match Point. It may even be a wiser film than any of them. What Woody has done throughout his film career is seek the answers to his own life questions in any number of ways. Some later films contradict the philosophical implications of previous ones. Some reaffirm them. His foremost theme has always been the complications of love and sex, and this ultimately genre-less film that I suppose could be considered a romantic seriocomedy may be his magnum opus of his sexual and romantic revelations.

Vicky, played by Rebecca Hall, and Cristina, by Scarlet Johansson, go to Barcelona for the summer, settling with Vicky's distant relative (Patricia Clarkson) and her husband. A Narrator, present all through the film, the particular matter-of-fact likes of which Allen has never before used, illustrates the two friends: Vicky is no-nonsense and conservative in her attitude toward love and commitment, engaged to the dependable but less than passionate yuppie. She is in Barcelona getting her masters, and is deeply stirred by Spanish guitar. Cristina, in contrast, is impulsive and irresolute of what she wants in life. She is just out of a relationship and wants to forget about her experience making a short film about Love, perhaps a nod to Woody's own admitted negative reflections on his previous works.

At an art exhibition, these two symbolically contrasting women observe a notorious painter, played with suavity and charisma by Javier Bardem. Cristina is immediately fascinated with him, and grows captivated when she and Vicky learn that he has undergone a violent relationship with his ex-wife. Later, the girls spot him in a restaurant, where he stoically approaches their table and unexpectedly invites them to go along with him to Oviedo, where they will tour, wine, dine and, with any luck, make love. Straight away Cristina consents, Vicky refuses, but Vicky is is ultimately persuaded and the twosome go with the self- designed artistic and drifting romantic on a small private plane through a rainstorm.

What follows is a free-flowing rectangle of romance with any combination of Bardem, Vicky, Cristina, and Bardem's unmanageably volatile ex-wife Penelope Cruz, who deserves an Oscar nomination for her work here. There are many ways in which the two American women change for the better and change not at all. One facet of the story is a clash of conventional American and liberated European cultures. Another is spiritual freedom, signified by Vicky's conventional reticence and thus conflicted feelings that she may be missing out on so much, and Cristina's mutability. A lesser title for the movie but an apt one nonetheless could have been Why Not?

Woody is expressing through his characters his urge to be free of all psychological and emotional restrictions. In any case, characters as open as Scarlett Johansson and Javier Bardem's seem to need similarly adaptable significant others. I find it interesting that Louise Lasser, Diane Keaton and Mia Farrow, Woody's women, all brought out their inner nebbishes due to intimate involvement with him, as in his eagerness to lift a lover's state of mind, he ends up, sooner or later, virtually turning his woman roughly into a female version of himself. Johansson and Hall's summer in Spain, if anything, releases them from the sludge of mediocrity, particularly that which results from fear and common custom.

By saying all that, I have not even come close to giving anything away. The way things turn out would hardly make sense to characters like Vicky, or her fiancé, and that is what makes it a natural flow from the heart. Woody Allen's brilliantly written, guilelessly directed and convincingly acted Spanish debut-and-swan song is not a comedy for the same reasons as nearly every other comedy Woody has made. It is a comedy essentially because of the culture clash. The film depends on our reactions to things that really are not inherently funny except to unaccustomed eyes. Likewise, the bewildered Americans are just as funny from the other side of the gamut. Without any doubt in my mind, this is not only Woody Allen's best film in years, but one of his very best of his entire 42-film, 42-year career as a writer-director of consistently good films.

Adventurous Cristina (Scarlett Johansson) and her cultured reserved friend Vicky (Rebecca Hall) go vacationing in Barcelona. They get approached by the over confident Juan Antonio (Javier Bardem). Juan immediately propositions them. Cristina is interested, but Vicky is incensed over his presumptuousness. As the two girls travel with him, their trio is turned into chaos by the wild Maria Elena (Penélope Cruz).

Woody Allen has created one of his most fascinating films outside of New York. There is only one problem; The Voice Overs. It doesn't stop. It drowns out the film. I don't even know why Woody thought it's a good idea to constantly unceasingly drone on and on and on. And is there anybody less interesting doing narrations? It sucks out the passion in the film.

Rebecca Hall and Scarlett Johansson were good at their particular roles. Javier Bardem is extremely fascinating and seemingly so realistic getting beautiful women with his confidence. But Penélope Cruz blows everybody away.

When Match Point came out in 2005, I was impressed, but no blown away like most of the public and critics. I thought it was an interesting movie that dealt with dark issues, but it didn't feel like Woody Allen. Scoop was a cute movie, but felt like fluff.

I am here to tell you after going on opening night that VICKY Christina BARCELONA isn't only enchanting, but so well written. I always look forward to Woody's writing because he is the best. The film just looks beautiful from the way it is shot. Javier, Scarlett and Cruz (Hilarous) are all good, but it is Rebecca Hall who stands out in this picture; giving Vicky such depth and character.

Allen is just the master. In the summer of effects and action, it is nice to have a film with such wit and smart observation in it. GO SEE IT!

Vicki and Christina have an opportunity to spend the summer in Barcelona. Vicki is to marry in the Fall, and Christina is more of a free spirit. It is a well written story of love, humor, desire and disappointment with well developed characters. Therefore it was really unnecessary to have a narrator explain some of the finer points, as the story told itself quite well. Antonio comes into the scene, changing everything. Antonio had a rather unstable wife, who is the real wild card in this movie. It became fun seeing how each of them would handle the situations as they developed, and as complications were tossed in.

I watched this film a few days after I had seen Allen's previous effort, Cassandra's Dream, and I must admit that I was going through a bit of a spell with him because, over the last decade I have almost had to defend his films that I have liked, while also acknowledging the man that are average or worse. However, like Spike Lee, I rarely find a film of his that isn't worth seeing – whether it is any good or not being another question. Vicky Cristina Barcelona was out in the US and the fact that I had access to a Woody Allen film suggested that it was better than some of his more recent work (a lot of which I never got the chance to see in any cinema) but I was also wary because this film was well-known for one specific thing and I figured that perhaps it was being helped by that, with the studio hoping the "A Woody Allen film" tag wouldn't put the teenage male crowd off paying to see what they came for!

I needn't have worried because it is like the man behind Cassandra's Dream and this film cannot be the same person. It is a excellent film and one that Allen's fans will love and perhaps, just perhaps, it may even be good enough to win over those that wouldn't give him the time of day far less the price of a cinema ticket. It helps that the film is firmly back on themes that Allen has done so well in the past – matters of the heart, of passion, of love, of lust, of marriage. The whole film plays in its entirety just like one of the many "discussion" scenes where the characters discuss these matters over coffee etc and it is this consistency that makes it such a joy because what we see minute to minute engages and that is pretty much what we get from the film as a whole – but not as a sum of the parts but as the whole producing the same as the parts but in a different way. This interests me and it is delivered with a colour and flamboyance that somehow never takes away from the intelligence and thoughtfulness behind the writing; I'm not sure how he did it because the narrative is so wild that it could easily have been silly, but he holds it together without it even looking difficult.

The use of a narrator concerned me at first – particularly since I had just seen Allen S-P-E-L-L-I-N-G everything out in big dialogue chunks in Cassandra's Dream but on the contrary here the narrator is used to link and mostly compliments by being droll and being a great voice (good casting job there). The cast are what will attract an audience to this film and, beyond them just being some very big names, they are all excellent. Bardem is just so effortlessly sexual and sensual that he perfectly fits Allen's writing of this passionate, creative love versus the steady and frankly dull love of Messina's Doug. Hall essentially takes the traditional Allen role but makes it work more than others trying it have done. She doesn't take the mannerisms so much as getting the character right and she is the heart of the film, thrown between passionate love and reliable love. No question which Cruz represents and she does it really, really well. Out of sight for the majority of the film she strikes like a thunder storm, totally wild and full of fire – but not to the point where she is unattractive or not tempting, which would have taken away from what she was trying to be. Johansson is easily the least of these talented names but even she does well; I won't say brilliant but she was good. Again, Welch was a good choice for narrator and I always enjoy Clarkson even if she has limited times to shine here.

Allen's direction is really good in regards the actors but of equal note is how he and Spanish cinematographer Aguirresarobe have delivered Barcelona to the viewer. The city contributed towards the making of the film and on the evidence of this it will be money well spent. The city looks beautiful, with great landscapes, plenty of colour to match the passion and a real sense that this is a place where art, passion and inspired sex is all around. Beyond being just wallpaper, this is of course a key part of the film's world and it is another part of the reason that this hooked me so easily.

Vicky Cristina Barcelona will likely be gushed over in the same way that any recent Woody Allen that isn't rubbish is hailed as a "return to form" etc. On this occasion though, such praise is not a knee-jerk but fully deserved. The film is intelligent, passionate, comic, free-flowing and enjoyably light. It looks the part and the cast take the natural, smart script and make the absolute most of it. I guess if you dislike Woody Allen then none of this will matter but to those that even have a liking for his better work, this film will hit the spot. It has been a while since I have had the words "excellent" and "Woody Allen film" together in the same sentence, but this is an excellent Woody Allen film.

This film will either work for you or not. For many, it marks Woody Allen returning to his classic style of examining human relationships with master craftsmanship. To me, he actually surpasses his previous works. The characters felt emotionally conflicted and hypocritical which will resonate with you if you see that in your life. If not, then there will be nothing here for you.

Principled monogamists may not like this film. Not only does it show its primary characters in relationships with multiple partners but, with one exception, they are quite open with each other about it. Allen suggests both that romantic happiness is best achieved with more than one person and that it is necessarily ephemeral (I wonder what his young wife, Soon-Yi Previn, thinks). He says in a Los Angeles Times interview with Rachel Abramowitz that Vicky Cristina Barcelona is, ultimately, "a very sad film."

If so, it may be the brightest sad film ever made. All of the actors are at their best and make immediate connections with the audience. With the exception of an unnecessary voice-over narration (in which Gaudí is mispronounced with stress on the initial syllable), the self-conscious affectations that haunt some of Allen's films are absent. Fine actors are allowed to speak for themselves. According to the Abramowitz interview, Allen "never talked to the actors, other than to give them stage directions." The resulting feel is often one of brilliant improvisation.

The complex romantic relationships among its four primary characters are what the movie's mostly about and I won't spoil it by going into them. Patricia Clarkson, however, deserves mention for her role as Judy Nash, the middle-aged wife of an American couple who are friends of Vicky's parents and with whom solid Vicky and impetuous Cristina stay in Barcelona (though Cristina soon moves in with the charismatic artist, Juan Antonio). Judy is married to a dull but steady man, somewhat similar to the man that Vicky is about to wed. Vicky confides to Judy about her uncharacteristic fling with Juan Antonio. Judy advises Vicky to reap her passion while she can and arranges another meeting between the two. All of this is low-keyed and entirely believable.

As the movie's title suggests, it's about Barcelona as well as Vicky and Cristina. There are many outdoor shots of the city, especially of Gaudí's Park Güell. They amount to more than a minor travelogue because structures that are usually photographed in isolation appear with everyday crowds of people. Like Bruges in the movie In Bruges, the city is more than scenic background. Though never mentioned explicitly, Barcelona's anarchist past bubbles to the surface.

6 February 2009. Vicky Christina Barcelona The title of the movie refers to the names of two young women, Vicky and Christina who visit Barcelona Spain and encounter an attractive, brash, seductive, and articulate Spanish man who raises doubts and well as insights in these women. Unfortunately the movie is severely hampered by a distracting, unnecessary voice over, opens earlier with a nice but repetitious musical rendition, and the overly incessant voice of Woody Allen who wrote and directed the movie. It is almost inescapable from experiencing the women artificially parroting Mr. Allen's unique way of thinking and talking which only adds to the awkwardness of the movie.

The voice-over is so basically repetitious explaining most of the particulars of what is going on in the movie that it interferes with the acting and expressive ability to allow the performers from telling the story. The movie experience is like having to sit through to separate and parallel portrayal of the same events. The voice-over only serves to either implicitly send out the message that the audience is either too dumb to understand what's going on or the actors are so bad that they can't perform sufficient to relay the story by themselves. A good example is the severe but perhaps unjustified criticism of the voice-over narrative (relatively scarce actually) in Blade Runner (1982) which in that movie provided additional mental thoughts of Harrison Ford that added substance to the movie instead of just supplanted or stated the obvious as in this movie.

And why the use of the flashback to reveal an additional relational subplot? To its credit, Vicky Christina Barcelona eventually evolves into a more in-depth and meaningful look at the consequences, complications of relationships often overlooked or skimmed over in other dramatic or romantic comedies. However, this relational "situational" marriage theme was also explored with the release the same year (2008) of "Revolutionary Road" with as much or more intensity or cinematic impact dealing with a 1950s period piece starring Leo DeCaprio and Kate Winslet who are provided with a script that allows them freedom to act the roles and lives they are portraying instead of Allen's intellectualizing musing of these deep relational uneasy themes.

The last part of the movie is cinematically different from the rest of the movie, more hurried, more explanatory, more quickly edited - sort like pushing out a work in progress. By the end, this rather long slice of life piece ends up dissatisfying unable to quench the thirst of an experiential series of events, and neither do the characters in the movie.

"Vicky Cristina Barcelona": A Sensuous and Thought-Provoking Masterpiece

Woody Allen's 2008 film "Vicky Cristina Barcelona" is a sensual and thought-provoking masterpiece that leaves an indelible mark on the viewer's psyche. The film follows the lives of two American women, Vicky (Rebecca Hall) and Cristina (Scarlett Johansson), who go on a summer vacation to Barcelona and get entangled with a seductive artist Juan Antonio (Javier Bardem) and his emotionally volatile ex-wife Maria Elena (Penélope Cruz).

The film is visually stunning, with the breathtaking landscapes of Spain serving as a backdrop to the complex and intense relationships between the characters. The performances by the entire cast are outstanding, but it's Penélope Cruz's portrayal of the mercurial Maria Elena that steals the show. Her raw emotions and fiery temperament bring a visceral quality to the film that makes it impossible to look away.

Allen's masterful writing captures the intricacies of human relationships, exploring the complexities of love, desire, and the search for fulfillment. The film is both witty and poignant, with moments of levity juxtaposed with deep introspection.

At its core, "Vicky Cristina Barcelona" is a meditation on the human experience and the mysteries of the heart. It raises thought-provoking questions about the nature of love and the choices we make in life. The film's themes and characters linger in the mind long after the credits roll, making it a truly unforgettable cinematic experience.

In short, "Vicky Cristina Barcelona" is a masterpiece that deserves all the praise it has received. It is a film that will stay with you long after you've watched it, and a testament to Woody Allen's enduring talent as a filmmaker.

Woody Allen gives us a slight, unassuming treatise on love. One of the title characters recently finished a 12-minute film about love, we are told early on, and it felt like that was to be a mirror of the larger story.

Lust, passion, love, desire, betrayal, pride and fulfillment are all examined from a variety of viewpoints and with a variety of outcomes.

Interestingly, though, I never felt like Allen was attached to the action in the movie or passing judgment on it: None of these approaches to love is presented as better or worse than the others, none of them has the impact of "the right way to love." Because of the detachment, some viewers might feel adrift -- as it is, I enjoy movies that just show me stuff without telling me what the author thinks is right.

As nice as it all was, I don't get the award buzz. The movie wasn't superb or terribly memorable, and everyone was good but not outstanding. These weren't unique or even all that interesting characters, and the actors gave them only the depth they deserved.

Still, if you like romance, this has some nice scenes and is a bit playful and enjoyable to watch.

"Vicky Christina Barcelona" (2008), a new film written/directed by Woody Allen, is a charming dramedy/romance that takes place during one summer in the capital of Spanish Province, Catalonia, Barcelona which is known as Antonio Gaudi's city. Allen has moved even further away from Manhattan but in his new film, the characters and their dilemmas remind a lot of the Manhattanites from his best pictures with their neuroses, search for love and meaning of life, and their ironic dialogues. We also meet two Spanish characters here played by Javier Bardem and Penelope Cruz. Bardem's Juan Antonio is a popular bohemian painter who would take a serious place in the lives of two American tourists, young women named Vicky (Rebecca Hall) and Christina (Allen's current Muse and inspiration, Scarlet Johansson. He is certainly in love with her voluptuous figure and especially her sensual lips. The male characters in at least two his films with Ms. Johansson repeat the same exact compliment to her lips. Time will tell if she ever gives performances as memorable, moving and subtle as Diane's or Mia's or Dianne's). Cruz was easily the best part of the delightful movie. As an estranged wife of Bardem's Juan Antonio, she created the force of nature out of her character. She was unbelievably good - crazy, sexy, beautiful, passionate. She and Bardem stole the show and redefined the term "On screen chemistry". Forget Vicky Christina - it should be called Maria Elena Barcelona - after Cruz's character. To her belongs the most hilarious "A deus ex machina" scene in the end of the movie that I've seen for long time. Penelope Cruz MUST play in either Spanish movies or in Woody's movies. She reminds me of a Greek mythological hero, Antaeus, the son of Earth. As long as he stayed on Earth, she would give him power and strength to fight Heracles, the greatest hero Greece ever knew. Once Heracles pulled him off Earth and kept him on Air, Antaeus' strength was gone. When Cruz plays in her native language in her Country, she is magnificent. When she plays in inferior American movies, she is nothing but a pretty face and a nice body. It was fun to see how good and effortless Bardem is in a romantic dramedy after his scary Oscar winning turn with the bad haircut and deadly air gun in "No country for Old Men". There is also Patricia Clarkson in a supporting role, talented, reliable, and subtle. Barcelona is a dream. I've been there in 2000 and I still regret that we had to leave to continue our tour. The Gaudi buildings and Park Güell are alone worth the price of admission. Spanish guitar music would kill you softly with its melodious passion. What is there not to like? For this Allen's devoted fan, "Vicky Christina Barcelona" is a dream come true.

It is interesting that Allen himself considers Vicky Cristina Barcelona "a very sad film." Yes, it is sad because like in many Allen's films, the characters would not get the answers for their questions. And being truly, deeply, madly in love would not make a couple happy because mad love creates such charged and heated atmosphere between them that they simply can't survive in it. The words of another famous cynic come to mind, "A Man can be happy with any woman as long as he does not love her", and this is a sad realization. What is not sad, though that Allen at the age of 72 still knows how to make a marvelous movie, to which his Spanish project is a glorious proof.

On vacation in Spain two American girlfriends meet a tall, dark and handsome artist who satisfies their needs in unexpected ways.

A curious little romance that putters along until about the halfway mark, when the introduction of a new character adds some tension and darkness. The sensibility is middle class - safe and responsible - so nothing really dramatic is promised and the story resolves on a minor note: not too comfortable, restrained in emotion.

The performances are good, particularly from the ex-wife. Locations are idyllic. Music is gorgeous. Only complaint is the odd voice-over of the narrator, which lords it over the story and is very much tell-don't-show.

Overall: fairly interesting, fairly engaging.

Though definitely not for all tastes, depending on whether you relate to the characters and the story. Woody Allen has done better than Vicky Cristina Barcelona, especially Annie Hall, Crimes and Misdemeanours, Manhattan, Hannah and Her Sisters and Husbands and Wives, but it is one of his better films in the past 15 years(very hit-and-miss at this point) along with Midnight in Paris and Blue Jasmine. Vicky Cristina Barcelona isn't perfect, it has a very abrupt ending but most problematic was the narration, which was completely pointless and it does feel patronising when you're been told what's happening like little schoolchildren- that's how it was delivered anyway- when it is being shown very clearly. There is no personal bias against narration, providing they move the story forward, but not when it adds nothing and just succeeds in over-explaining things like it does here. However, Vicky Cristina Barcelona is beautifully filmed and the locations are just gorgeous, making you wish you were there in Barcelona. The music score is both relaxing and infectious, and Allen's direction is accomplished. The film is brilliantly written narration aside, the dialogue is witty and thoughtful, by all means it doesn't break new ground but it still has a lot to say and does so in an entertaining and honest way. The story is a slow-burner but the way the characters interact and the way the relationships develop make it a largely compelling one at the same time, complex they are too and while the situations are fairly sensitive in the first place they are relatable as well. The characters are stereotypical(but mostly not that crudely, though judging from what I've read people will disagree with that) and typically neurotic but as is also typical of Allen they are very real as well. The acting is never less than very good, Patricia Clarkson standing out in support but the four leads dominate and all four impress. Penelope Cruz steals the show, she's rarely been lovelier and she always has been a beautiful woman, she is very funny and is fully immersed into the drama. Her scenes with Javier Bardem are among the film's best scenes. Bardem is effortlessly sexy that you completely understand the attraction, and he does very well at being sympathetic and seductive. Rebecca Hall plays a conflicted character and somehow succeeds in making her likable, her accent is fine. Scarlett Johansson is not as good as the other three, having to play the character that we in a way relate to the least but she is very sultry and compassionate and doesn't look uncomfortable at all. In conclusion, not among Allen's best films but very impressive stuff. 8/10 Bethany Cox