Sentences with phrase «coens make each of these films»

These all add up to the simple fact that we need to see the Coens make each of these films as an individual piece.

Not exact matches

Well, film noir literally translates as «dark film» so that means that this is really as dark as you can get outside of the Holocaust (and no, I don't wish the Coens made a comedy about the Holocaust).

Thus the Coens» film: nominally a movie about the travails of a trio of chain - gang escapees making their way across Depression - era Mississippi; in fact, a picaresque musical romp and arguably their lightest cinematic fare to date.

Following a few misadventurous days in Davis» life, as he loses a friend's cat, sleeps on various sofas, goes on a brief road trip and plays a few gigs, there is no real way of explaining in words the alchemy that takes place that transforms that bare - bones logline into such an engaging film, though Oscar Isaac «s wonderfully soulful, star - making turn has to take a good portion of the credit, with the supporting cast of Justin Timberlake, Carey Mulligan, Adam Driver and Coens regular John Goodman also contributing to the rich tapestry of the film.

What You Need To Know: There were many festival films this year that have impressed, even wowed us, but if there was one single film that boasted the unique attribute of making us long for the moment we'd be able to watch it again, it was the warm, human, funny, uniquely Coens - y «Inside Llewyn Davis» (here's our [A] Cannes review).

Following the commercial success of Raising Arizona, which made $ 22 million on a $ 6 million budget, the Coens were granted the money (accounts vary, but somewhere between $ 11 million and $ 15 million) to make a substantially more ambitious film.

The most genre - bending of all the Coens» films, Barton Fink is also a form of extended inside joke: an art film that makes merciless fun of the pretensions of art films.

• Several readers of my entry on No Country for Old Men made the case that the film was less a straightforward Coens picture than a de facto collaboration between the brothers and Cormac McCarthy, who wrote the novel on which it was based.

But looking more closely at the film, and in light of the movies that the Coens have made since, No Country fits very comfortably into the Brothers» filmographic style, subject matter and theme.

It's a film that no one else could have made — so many of the Coens» favorite tropes are here, from a howling fat man played by John Goodman to a memorable elevator operator — but it's also something a little different, not least because of the gloriously nostalgic photography by Bruno Delbonnel.

Not only for megastar filmmakers like the Dardennes and the Coens, but for Terence Davies («The Long Day Closes»), Rian Johnson («Brick»), Ramin Bahrani («Chop Shop»), Katherine Bigelow («Blue Steel»), Jerzy Skolimowski («Deep End»), Kelly Reichardt («Old Joy»), Michael Winterbottom («A Cock and Bull Story» — who makes two or three movies a year, it seems)... Those parenthetical titles, of course, are earlier films by these filmmakers.

The story is reminiscent of Dashiell Hammett's Red Harvest (a much - filmed story) but the high stylization of the pulps in combination with the Coens's own unique dialogue style fit perfectly together and make for a truly brilliant script.

The comments on this site underline exactly the point the Coens are making in their film - but which sail straight over the heads of the growing number of humans whose only measure of a movie is «hey was I entertained... like I was when I saw Epic Movie, or Hot Shots.