Jordan Smith’s review published on Letterboxd:
I'm ashamed to admit that (other than The Bird with the Crystal Plumage, of all things) I have no experience with Vittorio Storaro's work. I really hope that Woody works with him until one of them kicks the bucket because Storaro's cinematography is intoxicating. Yes, his Hollywood is encased in a warm amber glow but he also switches the color palette to be in accordance with the emotional tenor of each scene. And then there's the gorgeous dissolves and close-ups in Café Society's back half that underline the regretful nature of the passage of time. The rest of the movie's pretty good, too. Eisenberg does his motormouth shtick and Stewart continues to shed all of her Twilight baggage by nailing another character. I haven't seen enough of the Woodman's output to cry diminishing returns so I wasn't too picky here. Pretty much thought this was on a par with both Midnight in Paris and Blue Jasmine. The refusal to tidy up the narrative is the ending the story requires, not the one the audience wants. Except me. I love sad endings.
Completely Unnecesary Note: Storaro shot many movies in the '70s. Two of those were Identikit and 'Tis Pity She's a Whore. The former is also a long-in-the-works Radiohead song finally given an LP home on their predictably sublime A Moon Shaped Pool. The latter is the sophomore track on David Bowie's thrillingly odd, jazzy swan song Blackstar. Both were released this year. As you were.