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Reviews provided by RottenTomatoes
Michael Phillips, Chicago Tribune: The problem is, you don't feel the human sweat and strain in Cassandra's Dream, despite game work from Farrell and McGregor. There are plenty of ideas and themes and no people of distinctive interest to enliven them. Read more
Jonathan Rosenbaum, Chicago Reader: After making his best and smoothest drama (Match Point) in England, Woody Allen returns there for one of his most clueless and awkward. Read more
Scott Tobias, AV Club: Cassandra's Dream feels rote and inauthentic. Like so many late-period Allens, it leaves behind the feeling that he's made this movie before, but better. Read more
Bill Goodykoontz, Arizona Republic: If you must see only one film about a family's downward spiral into despair, it probably should be Before the Devil Knows You're Dead, not Cassandra's Dream. Read more
Wesley Morris, Boston Globe: Allen's storytelling is crisper here than it has been all decade, even if he's making shadow puppets out of the forewarnings. Read more
Kevin Crust, Los Angeles Times: Perched uncomfortably between thriller and melodrama, it's a film that hints at possibilities that are left unfulfilled. Read more
Amy Biancolli, Houston Chronicle: If Frida Kahlo can paint 55 self-portraits, Woody Allen can make several versions of the same movie. It's only fair. Read more
Peter Rainer, Christian Science Monitor: Allen has often been intrigued by the convolutions an ordinary person undergoes when faced with becoming a murderer. Read more
Tom Long, Detroit News: There's a deceptive simplicity to Woody Allen's Cassandra's Dream, a directness and clarity that's too rare in modern filmmaking. Read more
Owen Gleiberman, Entertainment Weekly: This tale of two brothers wrenched apart when they act badly is really a testament to its stars, who in this film act very well, and with visible joy. They make working for Woody Allen into a promise fulfilled. Read more
Jonathan F. Richards, Film.com: There are shivers of humor from time to time, but the mask in place here is the mask of tragedy. Read more
Chris Vognar, Dallas Morning News: Funny thing about tragedy: It loses its heft when it has to keep reminding us how tragic it is. It's hard to cozy up to a script that feels the need to toss in casual references to fate and Aristotle. Yo, we get it already. They're doomed. Read more
Amy Nicholson, I.E. Weekly: McGregor and Farrell deepen this slight thriller into a film that feels almost grandly philosophical, even though you know that when the lights come on, the spell will break Read more
Scott Foundas, L.A. Weekly: It's Allen himself who seems to have been cast adrift. Read more
Jan Stuart, Newsday: The impression that lingers is that of an artist clutching fast to yesterday's inspirations. Read more
David Denby, New Yorker: [Farrell] has done his best work with this performance, and he may have a triumphant career before him as a character actor in difficult roles. Read more
Sara Cardace, New York Magazine/Vulture: What the hell was Woody Allen thinking? Read more
Jack Mathews, New York Daily News: A dreary tale of two loser brothers who agree to become assassins in exchange for financial help from their corrupt uncle. Read more
Kyle Smith, New York Post: [Delivers] a sharply effective jolt of unease. It's a pulp story pinned to the screen with an ice pick of conscience in a manner that would have pleased Allen's idol, Ingmar Bergman. Read more
Roger Moore, Orlando Sentinel: If all [Woody Allen] is going to do is grind out weak, Brit-accented genre pieces that pay homage to 1940s and '50s melodramas, he shouldn't waste the frequent-flier miles. Read more
Steven Rea, Philadelphia Inquirer: There's not a believable character, nor line of convincing dialogue to be found. Read more
James Berardinelli, ReelViews: With Cassandra's Dream, we may finally be seeing confirmation of what many have suspected for years: that Woody Allen's period of greatness as a filmmaker is over. Read more
Roger Ebert, Chicago Sun-Times: The identical premise is used in Sidney Lumet's Before the Devil Knows You're Dead, which is like a master class in how Allen goes wrong. Read more
Mick LaSalle, San Francisco Chronicle: Allen is notorious for not giving his actors explicit instructions, and yet somehow this worked wonders for Farrell, who has never seemed so naked, so clear and so unencumbered as he does here. Read more
Dana Stevens, Slate: These characters not only don't talk like working-class Londoners, they don't talk like anyone. Read more
Colin Covert, Minneapolis Star Tribune: Allen's austere, carefully plotted story is the opposite of a whodunit. It's a why- and how-dunit. Read more
Rick Groen, Globe and Mail: It's enough to make you pine for the good old days -- back when life was only partly ironic and Woody was totally funny. Read more
Linda Barnard, Toronto Star: Farrell and McGregor bring much to their roles...to make Cassandra's Dream an effective and chilling ride. Read more
David Fear, Time Out: It's admittedly better than some of Allen's DOA comedies of the past decade. To think that his weak attempt at a morality play represents some return to form, however, is a pipe dream. Read more
Derek Elley, Variety: Like a tragic overture played at the wrong tempo and slightly off-key, Woody Allen's London-set Cassandra's Dream sends out more mixed signals than an inebriated telegraphist. Read more
Desson Thomson, Washington Post: Although McGregor and Farrell produce some occasionally spirited moments, particularly in the earlier scenes, they are little more than walking and talking schemes, their choices based entirely on socioeconomic impulses. Read more