This isn’t a review, because we’re not allowed to publish one for a few more days. But Baz Luhrmann’s take on The Great Gatsby? First of all, keep calm, it’s ok. It’s better than ok, in fact. For the first two thirds of its almost  two and a half hours, Gatsby is a snow globe of a movie, a 3D pop up Art Deco postcard of New York in the roaring twenties. When finally it turns more serious, when the flappers have gone home and the empty Champagne bottles are all thrown out, the movie hunkers down and delivers F. Scott Fitzgerald’s story respectfully. No one will be turning over in their graves over this literary adaptation.

The 2 hour 20 minute movie premiered last night in New York. I wish I could tell you more about the premiere, but that’s also verboten since Warner Bros. sold last night’s premiere party at the Plaza Hotel to the Wall Street Journal. I know they served martinis. So much for that. On Sunday there’s another party at the Top of the Standard hotel after a screening at MoMA. Then off to Cannes, where “Gatsby” will play on opening night five days after its US premiere.

One thing I learned last night: you cannot sit too close to the screen for this movie. You have to sit waaay back. The people who got stuck with the front rows were miserable. I and several others had to scout out seats in the rear of Avery Fisher Hall. Luckily there were plenty.

I did get to talk to Carey Mulligan outside Lincoln Center for a few minutes before the movie began. I told her that her performance as Daisy Buchanan is very affecting. She was thrilled to hear it. Leo DiCaprio signed autographs before going into the theater. His mom, always charming, was beaming. Otherwise, the premiere was cleverly designed to be as disorderly as one of the parties at the Gatsby mansion. And just like the movie, the premiere was in 3D. Only you didn’t need to use special glasses. And just to make it very real, the ticket people were extremely rude and unhelpful.

Because it’s a 3D movie–and Avery Fisher Hall isn’t set up for that– all the upper tiers remained empty on the sides of the theater. Director Baz Luhrmann was so nervous in his opening remarks that he forgot to introduce the cast. But he must have been happy to hear solid, enthusiastic applause at the end.

One thing I can say, which I did say yesterday and this isn’t a review: I love the composed score and musical themes. Not the Jay Z stuff and the rap music, but the instrumental score that permeates the last third of the movie. But the big winner on the “modern’ soundtrack is the family of my late friend Eugene Record. He wrote Beyonce’s hit “Crazy in Love” as a Chi Lites song in 1969. The new version, sung by Emeli Sande, carries over the main sample that Jay Z used years ago to make the Beyonce hit. Ka ching!

There’s no Cole Porter on the soundtrack to Baz Luhrmann’s “The Great Gatsby.” There is Jay Z, Beyonce, Bryan Ferry and Emeli Sande, Florence and the Machine, and Q Tip. This is not your grandfather’s Gatsby. Tonight, the world will finally see what all the fuss is about when Warner Bros. unveils the new “Gatsby” at Lincoln Center, followed by a soiree at the Plaza Hotel.

Will this two hour and twenty minute 3D extravaganza be a disaster for Warner Bros. like “Jack and the Beanstalk” or a grand slam home run like “The Dark Knight”? Luhrmann’s epic take on the great American novel was supposed to be ready last fall for Christmas and the Oscars. But it was pushed to May 10th because the director just wasn’t ready. The reason was said to be that soundtrack, which does have a lovely composed theme by Craig Armstrong, hadn’t been finished. It’s certainly eclectic, as you can tell from the sampler below.

But it’s also clear that the 3D required an enormous amount of labor. So did the set design. This “Gatsby” is all about style layered onto Fitzgerald’s text. The movie feels like the most ornate dessert cart you’ve ever seen, filled with massive, rich treats on every Art Deco shelf. It’s almost too much to take in. It should explode off a big screen with a great sound system.

And so: here it comes. I saw “Gatsby” for the first time about 10 days ago. Tonight will be round 2 for some, and for others, a mind blower waiting to happen.

Exclusive: If you’d asked in 1995, I would have said that the young actress most likely to conquer Hollywood, the Oscars, everything would be Winona Ryder. But life and events unwound her trajectory. We needn’t rake it all over now.

“I’m 41 now,” Winona said last night at the Soho House party for “The Iceman,” the movie that could bring her back. (She said after someone suggested she could have played Daisy Buchanan in the new “Gatsby.”) She looks the same as she did at 31, maybe better. She’s still a precise actress with a great gift. In “The Iceman” she plays Deborah the clueless wife of real life hit man and mobster Richard Kuklinski. Michael Shannon is absolutely chilling (and oddly endearing) as the crazy killer. Ryder is his ethereal partner, mother of his children, who maybe gets an inkling of what her husband really does for a living too late in the game.

At last night’s premiere, Shannon and Ryder were joined by co-star Ray Liotta (who’s almost a second lead, and damn good), as well as James Franco– who has a short, moving cameo. Also featured in the film are two well known Hollywood guys — David Schwimmer and Chris Evans–whose looks are so altered that you almost don’t recognize them. They’re terrific, as if the ever-evil Robert Davi.

After a bit, Justin Long stopped by the party to say hello. He, France and Ryder are trying to make a film of “The Beard” together. It’s one of Franco’s many projects.

And Winona? I can tell you she’s just signed to star in David Hare’s sequel to his British film, “Page Eight.” This is a big deal. Hare may use some of the “Page Eight” cast too, like Bill Nighy and Rachel Weisz. But it’s Winona’s turn. There’s an Oscar in her future. You can feel it.

By the way, it’s nice to know that Ryder is living full time in her home town of San Francisco. She’s also got a very boyfriend, her age. and they seem very happy. She tells me she’s very involved with literary doings at City Lights, and is still close to legendary poet, Lawrence Ferlinghetti, age 94. “He still rides his bike to the store,” Winona said and her famous eyes grew even wider with glee.