I loved Woody Allen's erotically-charged, high-risk themed Match Point. Unfortunately, he decided that he wanted to be on screen co-starring with Scarlett Johannson in his weak follow-up Scoop. But he's back behind the camera for Cassandra's Dream, which, addressing the same the dark side of human nature as Match Point, is terrific.

Once again, family dynamics and high risk behavior are Allen's themes. Match Point and Cassandra's Dream are tough, nasty pieces. More importantly, they are also uncanny character studies.

Much has been written about Allen's directing style. He doesn't really direct his actors. Here then, we watch Ewan McGregor and Colin Farrell deftly craft their characters as brothers and define their performances, aided so well by supporting players John Benfield (as their father), Clare Higgins (as their mother) and Tom Wilkinson (as their uncle). In fact, I love to think that Benfield and Higgins are real working-class Londoners and not actors at all.

The opening first notes of Philip Glass' score announces that Cassandra's Dream is a doomed thriller.

Do you let morality crush your selfish desires?

The strength of family loyalty is at the center of Cassandra's Dream. Ian (McGregor) and Terry (Farrell) are brothers trying to escape their working class background. Ian works in his father's failing restaurant but is desperate to leave and build a future as an entrepreneur. He's got plans. Terry is a mechanic with drinking and gambling problems. The entire family has always been helped financially by wealthy Uncle Howard (Wilkinson). He has no children and considers the Blaine's his family. His sister worships him.

Terry is, as we say here in Las Vegas, a "degenerate gambler," meaning he never walks away after he wins big. It only encourages him to play in higher-stakes poker games. After a nice win at the dog races, the brothers buy a sailing boat they name after the winning dog, "Cassandra's Dream."

Borrowing a Jaguar from Terry's garage, Ian helps a gorgeous actress, Angela (Hayley Atwell), on a country road with her disabled car and begins pursuing her. He pretends to be planning to develop hotels in California. Angela is quite open about using her sexuality for advancement. Feeling insecure, Ian must do something soon if he wants to keep her interested in him.

Terry wins enough to buy an apartment for him and his girlfriend but instead goes into another poker game. He loses. Terry admits to Ian that losing was as exciting as winning, perhaps more so. He's a risk taker who understands its seductive appeal. Owing $180,000 to loan sharks, the brothers turn to Uncle Howard, who is stopping in London to celebrate his sister's birthday.

Uncle Howard is always willing to help out since family is very important to him. In fact, he will bankroll Ian's participation in the California hotels and introduce his girlfriend around Hollywood, pay off Terry's debt, and even finance Terry's dream of opening a sports shop. All they have to do is help him. As family, Uncle Howard can only turn to them. He needs help.

Uncle Howard wants them to kill a business colleague who is going to reveal his criminal activities. Uncle Howard will lose everything and spend the rest of his life in prison. The brothers refuse. This enrages Uncle Howard. How dare they! They are his family and he needs them. He cannot go to anyone else. They must agree to do this. Or, do they just want to take and never give back?

Problems quickly arise, as Terry falters and becomes unreliable. Ian is more pragmatic, realizing that this is his way out of being his father's employee for the rest of his life. He's in love with Angela and wants everything Uncle Howard has offered. Ian should do the job alone but for some reason needs drunk, pill-popping Terry – clearly a terrible accomplice. Terry suddenly find Jesus and unravels.

McGregor's sexual appeal is more fully on display here than in the past. He must be highly charismatic in person but has consistently failed to translate it on the screen. Allen gets it here. He's sexy, selfish, and vibrant. Farrell has the more difficult role and he does a terrific job taking the collapse of his character and making it believable.

Writer-director Woody Allen should stay behind the camera. He just refuses to accept the fact that no one wants to see him on the big screen anymore. With "Match Point" and now "Cassandra's Dream", Allen exposes the frailty of selfish desire and the compelling seduction of risk-taking behavior. He understands these emotions and has delivered two fascinating, enjoyable films.

Allen's next film, set in Spain and may be called Vicky Christina Barcelona (according to IMDB.com), stars Scarlett Johannson again, Penélope Cruz and Javier Bardem. Wisely, Allen will again remain behind the camera.

(We at zboneman.com are excited to welcome the prolific and multi-talented writer Victoria Alexander to our staff. Critic for http://www.filmsinreview.com/ and pundit and humorist responsible for the candid and fearlessly funny "The Devil's Hammer," her column appears every Monday on http://fromthebalcony.com. Start off your week with a good hard laugh. It's a thrill to have her on board. Victoria Alexander answers every email and can be contacted directly at .)