Not the shock that Woody's other thriller, Match Point, was, but also not much of a downgrade in quality from that career high point either. This tightly-knit London-set drama about two brothers living beyond their means is closer in spirit to Claude Chabrol's work than Match Point (which felt like modern-day Henry James), meaning its glides between satire and suspense almost imperceptibly throughout. The script is wickedly conceived, with a Philip Glass score slyly underscoring the inevitability of it all. It is odd that between this and Match Point, Allen suddenly seems to have developed a class consciousness, but the film is nonetheless convincing on that level. Ultimately, it's distinctively his work, because it has at its center a comic engine of self-justification ironically highlighting the inconsistencies between what people say and what they do.