To grasp just how uncinematic Vicky Cristina Barcelona is, one doesn't even need to see it to appreciate it's one brilliant conception: the movie's title. What is it about Allen's title that seems so pithy, so fluid and easy? The ungrammatical run-on of proper nouns? The slender increase in length of words as the title unspools (think the build-up to Full Metal Jacket)? The diagrammatic list of the two main characters and principle location, unhurried, matter-of-fact, and casual? The slight sense of introduction ("Vicky...Cristina...meet Barcelona.")? The playful sense of interchangeability and different-sides-to-the-same-coin, of two meeting one, of the three moving around each other, swapping sides and approaches? Or not that at all, but rather a progression, a growth, a vector towards an end point, moving from people (or at least characters) to an ineffable place, something physical and intangible at once, a setting and also a spirit? I don't know what it is, but it is beguiling: mysterious, simple, welcoming, and fresh. Could any movie live up to such a title?