Sentences with phrase «coens movie»

The Big Lebowski is also the first Coens movie in which the soundtrack figures more prominently than the score, and that soundtrack (the Coens» first collaboration with T Bone Burnett) is an eclectic mix that spans decades, though again with an emphasis on the late «60s and early «70s.

Darker than your average Coens movie, the brothers adapted «No Country for Old Men» from novelist Cormac McCarthy's western thriller.

This is indeed a Coens movie, merely one set in a cheerier key than any of its predecessors.

seems scarcely a Coens movie at all.

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.)

But there's an unexpected religious theme running through the movie, as the Coens skewer the ways Hollywood tries to put the transcendent onscreen (disclaimer spotted in the credits: «This film contains no visual depiction of the Godhead»).

As in many of the Coens» movies, the world on screen is one we intuitively recognize, even as its geography seems decidedly askew.

An ode to art for art's sake, Inside Llewyn Davis is the most innocent movie of the Coens» career, which in their case is a downright radical achievement.

The Coens use both the music and the gorgeous atmosphere (lots of yellow - green fields and dusty townships) to establish thematic consistency, which unifies the movie far more than its scattershot story.

One reason it's hard to believe in the Coens» characters or their surroundings is that just about everything that isn't borrowed from the original Ladykillers comes from an earlier Coen movie (except the changing expression on the painting of Munson's late husband, which can be traced back to any number of awful Hollywood haunted - house movies).

• The Coens film of the same name may be the only movie I know of that had its genesis in a piece of set dressing for a prior film.

(For those interested, my original review is here; the movie has, if anything, been creeping up my big board of Coens films ever since.)

The movie's look, too, is severe, featuring none of the customary whimsy of the Coens» other comedies.

The Coens, masters of the picaresque, have a tendency to wax episodic — spending too much time on individual set pieces rather than a cohesive whole — and while this movie is far more tightly structured than The Big Lebowski, it does not quite reach the brilliantly plotted heights of either Barton Fink or Fargo.

This is a real disappointment because the movie is lensed by Roger Deakins (the Coens» cinematographer, among others) and directed by Andrew Niccol (Gattaca, Lord of War).

She has no real chemistry with Clooney — nor, it seems, with the Coens, who give her precious little to do — rendering the movie's central relationship decidedly sterile.

But Demme ultimately dropped out and the Coens were enlisted to direct the movie after they failed to get funding for their intended adaptation of the James Dickey novel To The White Sea.

Because ultimately the movie feels in - between in another way, too: Coens - y enough that it doesn't quite feel mainstream, but not Coens - y enough that it quite feels like a Coens film.

• The movie was the Coens» first — and to date, only — stab at romantic comedy, though with generous helpings of noir, screwball, and Hollywood satire thrown in.

Mixing interviews with real life locals with a sardonic narrative that would do the Coens proud (comparisons to «Fargo» are apt), the movie is a concise, quick - moving breeze, anchored by the impressive, dialed down, yet distinctly fey, mannered and oddball pitch Black brings to the title character.

• Fans of Clooney's collaborations with the Coens might want to have a look at his self - directed performance in the 2008 movie Leatherheads.

• The movie continued the peculiar pattern by which the Coens» «biggest» pictures — O Brother, like The Hudsucker Proxy, cost in the vicinity of $ 25 million — somehow came across as their least ambitious.

Not a feel - good movie, then (were the Coens» films ever?)

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.

Though the movie is the most explicitly «noir» of all the Coens» pictures, its look more closely resembles that of science fiction movies of the 1950s — a fact that makes its peculiar UFO subplot a touch less incongruous.

is certainly one of the funniest and silliest movies to have come from the Coens, probably since The Big Lebowski.

Supporting player Alex Karpovsky recently described the movie as «wacky and zany,» comparing it to the Coens» undersung «The Hudsucker Proxy.»

Somehow the Coens get to have it both ways, so that we see Mannix as a satirical figure and yet believe in his passion for the movie business.

This was the first of two Coens road movies built around a love of American music of a certain period; the second was «Inside Llewyn Davis».

This was the first of two Coens road movies built around a love of American music of a certain period; the second was»

as far as the movie goes... looks to be typical coen brothers - good, but not great.

Such a twisted, nutty little movie that I would only expect from the Coens, in their debut no less.

The Coens» composer, Carter Burwell, appeared at the Tribeca Film Festival for the «Dolby Institute: The Sound of the Coens» masterclass and shared some intriguing details about the movie, painting a far more complex portrait of the film the siblings are putting together.

I remember reading an interview with Burwell where he mentioned that he and the Coens decided that the score for the movie would be based around protestant hymns.

Only the Coens would answer the universal question «What the world needs now is...» with a Depression - era music - driven road movie set to Homer's «The Odyssey.»

The Coens have put some mythical baddies in their movies, and while the sight of some of them might strike fear in the hearts of men faster (Randall «Tex» Cobb in «Raising Arizona,» for one), you better believe that no other movie they make as long as they live will feature a character as calmly badass as Anton Chigurh.

The best compliment we can pay the Coens is that in an industry obsessed with celebrity, of both the real and fake variety, Joel and Ethan Coen are content to stay out of the headlines and just make movies.

ome directors — most, really — define themselves in their visuals, and while the movies of Joel and Ethan Coen deliver plenty of eye candy, courtesy of their brilliant choices in cinematography (Roger Deakins, holler), the Coens have, well, something else on their minds.

This led them to Roger Deakins, the now legendary master of photography who would work on no less than ten Coens» movies after Barton Fink.

A few other Westerns featuring female protagonists that almost made the cut are: the Coens» «True Grit» although we just didn't really feel like Hailee Steinfeld, good as she is, actually leads the movie; Samuel Fuller «s «Forty Guns» which also stars Western superheroine Barbara Stanwyck; 1995 TV movie «Buffalo Girls» in which Anjelica Huston plays Calamity Jane; William Wellman's «Westward the Women» in which a wagon train of «marriageable» females is brought out to supply a woman - starved town in the West; and straight to video title «The Desperate Trail,» just because this is a list about strong women leads and they don't get much stronger than Linda Fiorentino (alongside Sam Elliott).

Filed Under: Movies, Reviews, Robert Kojder Tagged With: Alden Ehrenreich, Alex Karpovsky, Alison Pill, Channing Tatum, Christopher Lambert, Clancy Brown, coen brothers, Ethan Coen, Fisher Stevens, Frances McDormand, george clooney, Hail Caesar, Heather Goldenhersh, Joel Coen, John Bluthal, Jonah Hill, Josh Brolin, Max Baker, Natasha Bassett, ralph fiennes, Robert Picardo, Scarlett Johansson, Tilda Swinton, Veronica Osorio, Wayne Knight

The Coens don't offer that comforting sense of cosmic justice or thematic completeness that most crime movies provide, even those films about chaotic situations where the violence spills out of the confines of the protagonists.

It's notable that the Coens tell us almost nothing about what has taken place before the movie begins.

Beyond a perfectly thick comic performance from Alden Ehrenreich, the best thing about the Coens» uneven farce is its backlot backdrop — a world the movie perfectly captures, through one extravagant detail after another.

«Flying Carpets and Bowling Pin Dreams: The Dream Sequences of The Dude» (4:20, HD) briefly discusses the movie's two fantasy scenes, with actors recalling their filming and, in older footage, the Coens citing their influences.

• I'm not sure what there is to say about Raising Arizona's iconic chase sequence other than that it epitomizes everything that's great about the movie — in particular the Coens» comic ingenuity, Sonnenfeld's tremendous camerawork, and Burwell's delirious score.

The movie, of course, went on to be the largest flop of the Coens» career, failing to clear even $ 3 million in domestic box office.

The usual critical suspects have already taken the movie as further evidence of the Coens «oft - alleged misanthropy, but this is a facile, if not entirely backward, reading.

Though elements of the Zhang style are readily evident — chiefly the ravishing cinematography (by frequent collaborator Zhao Xiaoding) and a color palette so rich you could eat it for dessert — the movie, entitled A Woman, a Gun and a Noodle Shop, is a less harmonious hybrid, one that shoehorns elements of broad farce and slapstick into the Coens» meticulous tale of lust, deception, and murder.

Ironically, she was nearly the movie's lead, but when the Coens approached her about the Abby role, she was busy with a play, and she recommended her then - roommate, McDormand.