Sentences with phrase «for coens»

The National Society of Film Critics have given it their Best Picture prize, with the movie also taking Best Director for the Coens, Best Actor for Oscar Isaac, and Best Cinematography as well.

(And it's all pretty beautifully shot by Bruno Debonnel too, subbing for Coens regular Roger Deakins who was busy on «Skyfall,» giving it all a nostalgic, faded album cover look).

The film looks to be a return to pure comedy for the Coens, their first since 2009's A Serious Man, and stars George Clooney as a Hollywood fixer in the 1950s.

Steinfeld, however, is in many ways a perfect fit for the Coens.

• For those keeping track of my ranking of Carter Burwell's greatest scores for the Coens, the final tally is 1.

It was a career - high for the Coens, with brilliant performances from Brolin, Tommy Lee Jones and Javier Bardem as a psychopathic hitman with a pageboy bob.

The bleakness (well supported by Bruno Delbonnel's bruised cinematography) feels invigorating for the Coens: While many of their successes, from Barton Fink through A Serious Man, bump up against existential dread, they've never made do with so little comic relief.

The script is replete with amusing dialogue and bizarre situations, which is the norm for the Coens.

And it's fascinating the way that Buscemi — in his first starring performance for the Coens after three consecutive bit parts — so often operates as our interlocutor in the film: the «sane» one despite his criminality, untouched by the weirdness of «Minnesota Nice,» who merely wants everything to go as planned, and who bit by bit comes violently unglued as it doesn't.

This was the last film that Barry Sonnenfeld shot for the Coens — and one for which he persuaded them to use long lenses instead of the wide - angle variety they had favored — and no one involved has mustered a better - looking work since.

More remarkable still is the huge, 1/24 scale set of a fantasy Manhattan - scape that was built for the picture, one large enough for the Coens to walk through.

And so it falls on Toronto to name their winners from 2013's vast cinematic offering, clearly falling rather hard for the Coens» INSIDE LLEWYN...

I rank it second out of all of Burwell's scores for the Coens, narrowly beating out the manic whistling and yodeling of Raising Arizona.

Which, in the end, might be a good thing for the Coens» reputation

And Carter Burwell delivers a score that, while not the best he would write for the Coens — that would wait for one more film — remains his most wildly inventive, a giddy mishmash of banjo, organ, whistling, and yodeling that plays like the mutant offspring of Marvin Hamlisch and Ennio Morricone.

He's been the go - to composer for the Coens, while also scoring films for the likes of Spike Jonze, David O. Russell, Charlie Kaufman and Todd Haynes.

Unavoidable on any respectable top of the nineties list, impossible to be precisely classified in genre terms, rich and nuanced to the degree of not being able to believe it took only three weeks for the Coens to write the script, Barton Fink is a full - blooded example of what came to be called typical Coenesque filmmaking.

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.

He thus proved a model for the Coens themselves, who throughout their career have been exceptionally diligent about maintaining creative control over their work.

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.

Join us on Monday 22 Feb for a Coens kinda pub quiz.

Could be it's time for the Coens to drop the pretense, and embrace sci - fi head on.

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.

I think what the Coens actually offer, through the strange incidents involving cats, is an opportunity for Davis, and thus us, to glimpse the mystery that lies outside the cyclical trap of a life he was living.

The Coens» True Grit makes some necessary room for the heroism the west really did call forth, but is otherwise all about revealing the «nasty and brutish» features of the truly wild west.»

, and follows a Hollywood fixer in the 1950s who pulls the strings of major studios to get what they want (if it sounds like the Coens want to brutally bite the hand that feeds, remember that Inside Llewyn Davis got stood up for any Oscar nominees last year, so Hollywood sort of asked for it).

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.

Despite winning critical acclaim for her performance, it would be four years, save for a cameo in the Coens» Raising Arizona (1987) and various small roles, before she would be featured in another major film production.

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.

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 are of course well - versed in the themes and visual language of the western genre, having previously written and directed No Country for Old Men and True Grit, and with the backing of Annapurna (Zero Dark Thirty, The Master) the prospect of an original anthology series from the brothers is very exciting indeed.

• Unfortunately for Intolerable Cruelty, the affinity that the Coens and Clooney have shown for one another is nowhere in evidence when it comes to Catherine Zeta - Jones.

• 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.)

But also up there on the screen, half - obscured by a surgical mask, is Bruce Campbell, the Coens» go - to guy for soap - opera cameos, real or invented.

It's part of a remarkable Oscar pattern: Despite their exceptional talent, Coens cinematographers are zero for six in films they shot for the brothers, and a stunning one for 21 overall, the sole win coming for Emmanuel Lubezki for Gravity.

I can only imagine that this austere vision resembles the Coens» plan for adapting James Dickey's To the White Sea, which makes it all the sadder that said adaptation will probably never be made.

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.

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.»

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.

, No Country for Old Men, True Grit, A Serious Man and many more, the Coens explore, through comedies, quasi-musicals, thrillers or Westerns, the trajectory of the failed hero.

I'm much closer in age to Bridges than to Newman, yet Benton takes me back to a world that I recognize more vividly than the Coens» TV patchwork, and I prefer Benton and Richard Russo's witty, functional dialogue and sturdy plot construction to the Coens» gaudy bag of tricks, whose cleverness and imagination exist mainly for their own sake.

The Coens had originally intended to alternate comedy with drama by producing The Man Who Wasn't There — for which they also had a script — after Lebowski.

An adaptation of Cormac McCarthy's neo-western novel, No Country for Old Men generated a significant amount of buzz at Cannes earlier this year and the Coens have already received a considerable amount of praise for the project from a variety of major American publications.

The Coens vary between dark and violent thrillers like «No Country for Old Men» and Fargo, and quirky comedies like «Raising Arizona» and «The Big Lebowski».

Universal will distribute with the Coens producing, along with Eric Fellner and Tim Bevan for Working Title Films.