The Coen brothers

Blood Simple.
[ More “straightforward” than most of the Coen’s subsequent films, there’s still a sardonic streak to their debut. Then there’s the virtuoso cinematography by Barry Sonnenfeld, juicy dialogue and solid performances by Frances McDormand, Dan Hedaya, John Getz and M. Emmet Walsh. “Blood Simple.” is a shrewd, powerful noir thriller. Great use of The Four Tops’ It’s the same old song, too. ]

Raising Arizona
[ Possiblement les 10 meilleures premières minutes de l’histoire du cinéma : un bijou d’écriture, de réalisation et de montage, sans compter l’interprétation immédiatement irrésistible de Nicolas Cage et Holly Hunter, et la musique si enlevante de Carter Burwell. Pendant les quelques 80 minutes suivantes de cette comédie des frères Coen, le rythme demeure incroyable, avec une caméra hyperactive et des gags fusant de toute part. Hilarant, Raising Arizona est également aussi excitant que bien des films d’action, notamment lors des scènes avec le motard de l’apocalypse sorti tout droit d’un film de Mad Max! ]

Miller’s Crossing
[ Thick plot, thick dialogue, thick characters… There’s hardly any room left to breathe! Oh, the Coens mix in some deadpan humor, stylish shoot-outs and colorful supporting players (Polito, Turturro and Buscemi are great), but overall the film feels to me like a well designed toy that’s not actually all that fun. You want to enjoy it, but it’s like it won’t let you. ]

Barton Fink
[ While concocting the Byzantine plot of “Miller’s Crossing”, Joel and Ethan Coen hit a bad case of writer’s block, out of which came out “Barton Fink”. John Turturro stars in the title role of a New York playwright who dreams of “a new living theater OF and ABOUT and FOR the common man”, but ends up selling out to go work in Hollywood. Writer’s block engulfs him as his hotel room becomes his own personal hell, with John Goodman’s brutish salesman as the damned-next-door. Alternately a hilarious satire of the 1940s movie biz and a surreal character study, “Barton Fink” is one of the Coen’s most expertly crafted and engaging films. ]

The Hudsucker Proxy
[ That’s right. New York, 1958. A seemingly imbecile mailroom clerk is promoted to president of Hudsucker Industries by the board directors, who what the company stock to crash so they can buy it back and take over, but the plot thickens when their proxy’s crazy idea of a circle-shaped toy (“You know… For the kids!”) turns out to be a huge success! This is generally regarded as the Coen’s worst film, which makes no sense to me. How can you dislike such a delightful throwback to the cynical yet high-spirited screwball comedies of the ‘40s and ‘50s? Tim Robbins is irresistible as the innocent puppet-president, Paul Newman is a hoot as a scheming fat cat, Jennifer Jason Leigh does her best Katherine Hepburn and Bruce Campbell, Jon Polito, John Mahoney, Steve Buscemi, Peter Gallagher and even Anna Nicole Smith all make amusing appearances. Then there’s the endlessly witty screenplay by the Coens and Sam Raimi and the superb work by cinematographer Roger Deakins and composer Carter Burwell, going for a retro feel but with a twist of Tim Burtonesque gothic. I love this movie! ]

[ review ]

The Big Lebowski
[ review ]

O Brother Where Art Thou
[ Ça n’a jamais été un de mes films préférés des frères Coen – trop anecdotique et inégal à mon goût. Mais j’avais envie de revoir Tim Blake Nelson dans ce rôle, longtemps avant Buster Scruggs, ce qui fut bien plaisant. Tout comme les performances de John Turturro et surtout George Clooney, qui me fait bien rigoler avec sa pommade Dapper Dan. Puis il y a la trame sonore assemblée par T Bone Burnett et la direction photo de Roger Deakins, assez pour maintenir mon intérêt, malgré un certain manque de ressorts dramatiques. ]

The Man Who Wasn’t There
[ review ]

Intolerable Cruelty
[ review ]

The Ladykillers
[ review ]

[ The Coen’s contribution to “Paris, je t’aime” is further proof of their virtuoso visual sense and their perfect comic timing, with an hilarious silent performance from Steve Buscemi. ]

No Country for Old Men
[ review ]

World Cinema 64
[ I’m not sure what to think of the Coen’s contribution to “Chacun son cinéma”… I mean, I definitely liked it, but I’m not sure why. You got Josh Brolin, still with the shitkicker hat and mustache from “No Country for Old Men”, going into this arthouse theater and having a chat with the clerk, and it’s amusing and alll… But at the end, you feel this bittersweet vibe that I can’t quite explain. Oh well. ]

Burn After Reading
[ review ]

A Serious Man
[ Here’s yet further proof that the Coen brothers, like very few other filmmakers, can make just about anything interesting by their mere auteural touch. Which is not to say that every movie they make is great, but that even when they make what I feel is a lesser picture, even when I downright don’t like it, there’s still no denying the power of their voice and their style. Take this here “A Serious Man”: in other hands, this rather dull milieu (a Jewish community in the Midwestern suburbs circa 1967), these rather dull characters (a mild-mannered professor of physics, his socially inept brother, his unhappy soon-to-be-ex wife, his obnoxious teenage children, various rabbis, etc.) and this rather dull story (which can pretty much be summed up as: “God works in mysterious ways” or “shit happens”) could have been, well, dull. But the Coen’s sly sense of humor, the way they (and cinematographer Roger Deakins) have of framing things, their astute use of sound and music (Carter Burwell’s haunting score and Jefferson Airplane songs, notably) and the way they direct actors (Michael Stuhlbarg, Richard Kind, Sari Lennick, Amy Landecker and others) to always be just a tad offbeat all add up to making everything in the film seem somewhat surreal. If this were a mere exercise in style, “A Serious Man” might have still felt like a wank, but what’s fascinating in this film is that one of its central themes just happens to be how through a slightly skewed persective, what usually seems ordinary and routine can suddenly fill one with wonder and awe. Well played, sirs. ]

True Grit
[ review ]

Inside Llewyn Davis

Inside Llewyn Davis
[ Even though I’m a big fan of most of the Coen brothers’ filmography, I didn’t rush out to catch their latest. I saw the trailer plenty of times and it just didn’t attract me all that much. The story of a down-on-his-luck folk singer, it seemed a bit too low-key and depressing for my taste. And those desaturated colors? I don’t know, man. These days, it’s like I need more brightness and liveliness, both in my life and in my cinema. That being said, I was still curious to see it at some point and now that I have, I feel silly for not doing so sooner. “Inside Llewyn Davis” has many things going for it, notably a loose yet assured sense of storytelling, an awesome folk soundtrack and the Coen’s typically sly sense of humor. I also grew to greatly enjoy Oscar Isaac’s performance as the talented but unsuccessful titular character, who’s a bit of a loser and an asshole, among other flattering things. Early on, there’s not much of a plot going on, we just follow Davis as he couch surfs his way through life, somehow getting stuck with a cat, trying not to further anger a lady friend (Carey Mulligan), cutting a session with a buddy (Justin Timberlake)… Then at the halfway point, we’re suddenly thrown into a road movie of sorts, as Llewyn decides to take advantage of an offered ride to Chicago with the quiet Johnny Five (Garrett Hedlund) and the loudmouthed Roland Turner (John Goodman). And then… Well, the film remains unpredictable until the end, it’s just this thing and that thing and this thing, the only constant thread being that almost nothing seems to work out for our poor Llewyn Davis. The Coen do find a clever way to wrap things around. ]

Hail, Caesar!
[ Reviewed on Extra Beurre ]