Woody Allen has recently been quite hit-or-miss, but he truly makes whatever he wants, be it dramas (Match Point), vignettes (To Rome with Love) or experimental narratives (Melinda and Melinda). However, really nothing he has made has been terrible. Allen's last massive success was Midnight and Paris, a wackily set human comedy that drew great attention for its historical aspects, even though it had some weaknesses.
However, with Blue Jasmine, Allen scores his best film in some time, and truthfully, one of his best period. Cate Blanchet's performance is simply unreal, and without a doubt the highlight of the film. It actually becomes uncomfortable to watch the nervous breakdowns of Jasmine about her state of life, relationship issues, and unsure future.
Forced to move in with her sister after her husband is imprisoned for financial fraud a la Bernie Madoff, Jasmine moves to San Francisco, claiming she's out of money despite her first class plane ticket and refusal to sell her designer clothes. Alec Baldwin, in flashback, plays Jasmine's husband, and Baldwin may be the weakest link in the film. Not because of his performance, but simply because of his underutilization. Baldwin doesn't do anything in particular, but really, this is an issue that only arises in retrospect.
Great performances dot every minute of the film. Sally Hawkins is brilliant as Jasmine's meek "lower-class" sister. Bobby Cannavale is great as her current boyfriend, while her fling is portrayed by Louis C.K., who is good enough to not be completely distracting. However, the best performance in the film is by Andrew Dice Clay, the critical scorned abrasive comedian, as Jasmine's ex-brother-in-law, resentful towards his entirely family and emotionally reeling both times we see him- first trying to fit in with Jasmine's high society, and then hurt financially by Baldwin's money games. Michael Sturburg is both pathetic and unsettling as Jasmine's temporary employer.
Allen structures the film in a certainly peculiar manner, abruptly changing from past to present. In fact, I was lost for a few seconds in a time change, although I quickly recovered and dove back into the film. Allen creates an interesting tone as well, mixing emotionally raw drama with dry humor, kind of like his typical style mixed with Cassavetes. It's a unique blend, and one I can't think of having seen before. Unflinchingly, I would declare Blue Jasmine as Allen's best film since (at least) Hannah and Her Sisters, which is no small feat, considering the strengths of Match Point, Mighty Aphrodite, and Midnight in Paris. Allen creates a very real portrait of modern emotional turmoil with Blue Jasmine caused from betrayal, snootiness, and culture shock.
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