Recurring 'Dream'

To paraphrase David Spade, I liked Woody Allen's "Cassandra's Dream" the first time I saw it, when it was called "Crimes and Misdemeanors" ... or "Match Point."
There's plenty different about "Dream," "Crimes" and "Match," but the similarities are striking. And I think Allen nailed the moral quagmire issue best with "Crimes."
That said, watching Allen's eighth neurotic comedy can be nearly as enjoyable as his first, and the same mostly holds true with "Cassandra's Dream." Sure, the themes aren't exactly novel, but two appealing leads and some seriously amoral behavior can be diverting.
"Dream" follows two brothers - (Ian) Ewan McGregor and (Terry) Colin Farrell - who both need some serious cash, and fast. Ian is posing as a big spender to woo an actress, while Terry's gambling problem has him deep in debt.
Enter rich Uncle Howard (Tom Wilkinson), who always doles out money when asked. But this time he needs a favor from his nephews. A colleague is planning on testifying against him, and the case could send Uncle Howard to jail. Could the boys get rid of the man for him?
It takes f-o-r-e-v-e-r for this plot point to kick in, yet "Dream" doesn't feel sluggish. But once the story's fuse is lit, the fun starts draining away. We get endless bickering between the brothers about the morality of their plan, and the dialogue rarely rises beyond the obvious.
Other critics have attacked "Dream" for its inauthentic vision of working class England, and I'll assuming their right on that count - it's not a culture with which I'm familiar. What struck me was that, ultimately, Allen doesn't seem invested in his own tragedy.
"Cassandra's Dream" feels more alive than some of Allen's recent pictures, in part due to his locale shift. But it's still a far cry from either his funnier, or more profound, features.