Sentences with phrase «as coens»

With as many great movies as the Coens have made, surely «True Grit» is among their most broadly accessible without losing the dark edge and technique that makes them so terrific.

McDonagh isn't able to balance his film with the same finesse as the Coens.

As the Coens guide us through a fictional dream factory, «Capitol Pictures» (also featured in their condescending and morose Barton Fink), nostalgic fantasy and frivolous satire create a peculiar glow, then cancel each other out.

Though handsome and intermittently intriguing, The Man Who Wasn't There was grim and remote; Intolerable Cruelty functioned principally as a star vehicle for George Clooney and Catherine Zeta - Jones and was scarcely recognizable as a Coens film at all.

The Irish actor has been listing his extracurricular activities — the short he's written and directed with his actor - brother Brian and actor - father Brendan, the online sketch series he's created called Immatürity For Charity, and the feature - length script that he'd get round to finishing, if only film - makers such as the Coens and Alejandro Iñárritu didn't keep calling with job offers.

• It's an irony worthy of such master ironists as the Coens that their fifth film, The Hudsucker Proxy, was intended to be their most mainstream and commercial to date.

may not be on the same plane as the Coens» recent run (last three films nominated for Best Picture), but I'm ready for a sharp, very fun, nostalgic madcap run through the Golden Age of Hollywood that only they could provide.

The adult years prove even less helpful as the Coens opt to leave most of Louis» thoughts unspoken.

But Clooney doesn't push the aesthetics of the film quite so far into hermetic beauty as the Coens, and he presents his characters with less distance and greater affection.

The copycats seemed to get more attention and respect than the originals and the innovators — much as the Coens are now ranked above Roman Polanski, and Woody Allen eclipses Albert Brooks — and having just returned from almost eight years abroad, I was responding like Rip van Winkle.

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»).

Not exact matches

But the Coens do their best to keep the puzzle and possibility open, as we later learn that the first cat Davis lost miraculously made its way from Greenwich Village back uptown to Washington Heights, and at one point Davis's eye fixes on a poster for Disney's INCREDIBLE JOURNEY, the one where pets find their way home across hundreds of miles of wilderness.

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.)

The Coens are rare beasts in today's Hollywood, as capable of turning their hands to thrillers like No Country For Old Men but equally at home with comedies like this one.

Sometimes, as in «Fargo,» the Coens» fondness for outre regionalism verges on contempt, as if they were implicitly contrasting their own sophistication with the literal - minded dumbness of their characters.

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

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).

The Coens went on to cast Buscemi in nearly all of their films, featuring him to particularly memorable effect in Barton Fink (1991), in which he played a bell boy; Fargo (1996), which featured him as an ill - fated kidnapper; and The Big Lebowski (1998), which saw him portray a laid - back ex-surfer.

No Country for Old Men has settled in as the Best Picture - elect, and the Coens hold a far more esteemed cachet than Paul Thomas Anderson, but their film's implosive anti-climax can't just be shrugged off.

In this modern era, the Coen Brothers are often credited as the life support system for classic noir, but the Coens appear to have serious competition in the form of Australian filmmaker and stuntman Nash Edgerton, whose feature debut, The Square, is a brilliantly twisty, gritty contemporary film noir.

The quiz will cover their entire careers as directors and writers, from Blood Simple and Raising Arizona through to Inside Llewyn Davis and The Ladykillers — we're on the search for the ultimate Coens know - all.

The Coens represent independent film with Fargo as well as any film from the»90s, setting their outlandishly funny tale in one of the most offbeat, curiously charming corners of the country, a stroke of genius.

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.

As before with the Coens, it is a tremendously fruitful artistic collaboration.

Those musical acts are pure catharsis for Davis, as well as for the Coens — and they also form the crux of the strongest set of moving images I was privileged enough to see this year.

• One could make the case that over the years, the Coens were inspired as much by Sturges's career as they were by his films per se.

As with The Hudsucker Proxy, it harkens back to the golden age of the screwball, though this time out the Coens dispensed with the stylized 1930s / 1950s tone and setting, instead placing the film in the present day.

• Rounding out the cast are James Gandolfini as «Big Dave» Brewster (the Coens» third «Big» in a row, following David Huddleston's Lebowski and John Goodman's «Big Dan»), along with a variety of Coens ensemble returnees.

Unlike most of Clooney's outings as a director, which bear the discernible influence of his friend and frequent collaborator Steven Soderbergh, Leatherheads is Clooney's clear attempt to make a Coens - style comedy.

If the film plays into the popular notion of the brothers as ruthless cynics, Thornton at least proves how much darker the average Coens joints could be.

As for Clooney, this represents his best work with the Coens.

As in previous Coens collaborations, he is rewarded for his efforts with another self - mocking vanity tic, in this case his perpetual need to «get a run in.»

It would be the first collaboration between the Coens and Clooney, who described himself as a fan of all their films and accepted the role without even seeing a script.

The Dude and Sobchak begin as caricatures too, but they're allowed to grow into something deeper, if only because the humanist economy of the Coens» surrealist vaudeville allows for a couple of human beings within the tapestry of freaks.

• 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.

Thornton's role as Ed is more central than that of any previous Coens protagonist: We see the story not merely through his eyes, but to some degree from inside his head.

A lot of the mechanics in the script by Benjamin and Paul China (billed as «The China Brothers» in a perhaps too - obvious nod to the Coens) are boilerplate familiar to the point of being rote, but the manner in which they're assembled and played out by sophomore director Jamie M. Dagg and his expressive cast of weathered character actors largely redeems them.

Fans of their films should definitely check this one out as it is quite thrilling, well acted and has a truly wonderful story that only the Coens could have brought to the screen.

It doesn't work on a purely aesthetic level or as a political statement, and the combination of the two goes together about as well as a mid-level Coens comedy and a morality play about racism masquerading as a thesis.

There is nothing gratuitous or gory about what the Coens show onscreen, but there is one scene in particular that has been named as one of the scariest in reviewer's lists and I am inclined to agree.

Like Nebraska, the Coens» film is richly layered and deftly shifts between registers, ending as a dark, magical, comic fable of the mystery of luck, good and bad.

Yet there's nothing mirthless about the Coens» joy, which echoes around the corridors, soundstages and «Wallace Beery Conference Rooms» of Capitol Pictures as they lovingly, ludicrously lift the lid on a bygone screen age.

Since the brittle misanthropy of 2013's Inside Llewyn Davis, the Coens have racked up screenwriting credits on such «serious» fare as Angelina Jolie's Unbroken and Spielberg's Bridge of Spies, and this feels like the brothers cutting themselves some well - earned recreational slack.

But the whole film is as fast - paced, as funny, and as knowing as that one scene; it's a brighter, but no less intelligent, flip - side to the Coens» brilliant Barton Fink.

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

As usual with the Coens there are some surreal moments but overall it was pretty coherent, funny and enjoyable.

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.

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.

Maybe not in the Coen brothers» top tier, this modern screwball is nonetheless severely underrated, with charismatic, goofy performances from George Clooney and Catherine Zeta - Jones and a twist - heavy script that acts as a showcase for the Coens» indebtedness to Preston Sturges.

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