A Serious Man is close to being best
Coens ever, and I am a shiksa, even if I did grow up in NYC and go to the Bronx High School of Science.
Not exact matches
The book is surely the more «coherent narrative,» but the movie might be the
Coens» least nihilistic effort
ever (as if they couldn't quite negate all of the Christianity and the Southern Stoicism of the book, and maybe of the South itself.)
Although they are only its executive producers, the imprimatur of the Coen brothers is all over «Bad Santa», with its grotesque characters, hilarious dialogue and barely competent heists — but nothing made by the
Coens has
ever been as jaw - droppingly irreverent as this.
(For those interested, my original review is here; the movie has, if anything, been creeping up my big board of
Coens films
ever since.)
Not a feel - good movie, then (were the
Coens» films
ever?)
The
Coens might have found jet - black humor underneath all of the menace, while Scott,
ever the serious filmmaker, plays it all with the straightest of poker faces.
The
Coens» writing is as witty and eccentric as
ever, but save for two specific bits, rarely more than amusing.
• Miller's Crossing may not be the
Coens» best film — that would probably have to wait almost two more decades — but it has been my favorite
ever since its release.
While it may not be the greatest film
ever from the
Coens, it has stuck with me since first seeing it midway through the festival and has grown on me since.
And things get far grimmer when Loren decides to actually finish the job Julian hired him for, culminating in a denouement as tense and haunting as anything the
Coens have
ever put to the screen.
But one needn't be much of a sentimentalist to be more sentimental than the
Coens, and that variance keeps the film from
ever quite finding its proper key.
This week, David Chen, Devindra Hardawar and Adam Quigley deliver their thoughts on two of this year's most critically acclaimed films, debate whether or not the
Coens have
ever done a «straight genre exercise» before, plus offer a crazy theory about the real meaning of Black Swan and speculate on where Aronofsky's career might be headed next.
Probably because some people are expecting this yarn to be as dark as No Country for Old Men, which, in a way, was the darkest the
Coens have
ever gotten.