Sentences with phrase «of coens»

Although this was their debut, labyrinthine plots and double - crosses would become a staple of the Coens» work that followed.

The arch humour of the Coens is channelled well by Clooney and, although underdeveloped, a parallel narrative involving persecuted African - American neighbours is an interesting way to show - up the privileged context from which these greedy white lives make trouble for themselves.

The film is recommendable, but for some reason I could never fully dive right in and have the film take me over like other films of the Coens have done to me.

It is a case of the Coens coming full circle, returning to the same setting as Barton Fink ten years into Hollywood's future, trading in Fink's profound cynicism for lighter fare.

The title alludes to Preston Sturges and evokes the engagingly anarchic, almost throwaway tone and setting of the Coens» shaggy Deep South Depression - era semi-musical road - comedy.

Warning: contains spoilers In Inside Llewyn Davis, the titular protagonist (Oscar Isaac) is yet another one of Coens» unlucky characters, bewildered by the cruel twists of fate.

It is tough to imagine anyone but old people seeing the humor in Gigolo, which Turturro imbues with neither the offbeat artistry of the Coens nor the broadly appealing playfulness of Sandler's better farces.

The Thackers» presence is microcosmic of the Coens» unusually tedious throwback: at its best it is a mildly amusing, grin - inducing gossip column.

Recommendation: One of the Coens» weakest efforts to date, Hail, Caesar!

Perhaps it seems like over-thinking to quibble with the ideological talking points of a movie that mostly dawdles from one skit or cameo to another, interspersed with the occasional song - and - dance number, and which contains one of the best comic set pieces of the Coens» career: a director and his recently re-cast lead trying to work through a single awful line of dialogue («Would that it were so simple») while filming a turgid melodrama.

Somewhere in there are stretches of the Coens» funniest comedy since The Big Lebowski; it just takes a little patience.

There are strong echoes here of the Coens» matter - of - fact detachment — echoes especially of True Grit, of course, but overall of their tendency toward surprise strokes of narrative shorthand.

It affirms the breadth of the Coens» accomplishment here that in presenting a sharp sociological treatise on a «lost» decade in our recent culture, they've also managed a cogent and fascinating analysis of Raymond Chandler and the influence of noir on the way we interpret the existential crises of modern, fully - acculturated Man.

The film went on to become one of the Coens» most financially successful films.

For the first half of the Coens» lighthearted Hollywood comedy, I was thrown off by the episodic nature of it all.

Fargo, more than any of the Coens» other work, is a study in contrast, namely in the sense that it's made by two people who were clearly at one time insiders, but who have now taken the opportunity to see the Midwestern template from the outside.

Enter Noah Hawley and the acclaimed FX adaptation of the Coens» icy bloodbath.

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.

One of the Coens» less broad, more low - key efforts (some, including us, dubbed it Barton Folk), Inside Llewyn Davis is a perfectly realised homage to the Greenwich Village scene of the 1960s.

Besides being the first of the Coens» many fascinating flourishes here, this interpretable 8 - minute sequence sets a model for the potentially ominous to enter the lives of well - meaning Jewish faithful.

Fargo is often targeted as emblematic of the Coens» superiority to their characters, and that perception isn't off - base.

«Lacks the snap of the Coens» other crime contraptions, which at their best go off like harshly moral Rube Goldberg devices.

After all, sense of place — which is really the heart of this film — has always been one of the Coens» strongest suits.

The marriage of the Coens and McCarthy are sublime, perfectly blending the brothers» mastery of sparse ambience with the ruminative nature of the literary form's philosophical elements.

But the real reason to see the film is the work of the Coens» regular collaborators, cinematographer Roger Deakins and composer Carter Burwell, who supply the visual and auditory landscapes that are True Grit's most notable achievement.

And while the movie's New York setting might have been part of what worked in its favor at the Gotham - friendly Gothams — star Oscar Isaac, accepting the prize on behalf of the Coens, noted the connection — it nonetheless offered the film a much - needed boost at the dawn of nomination season.

However you role the dice, this is just more proof of the brilliance of the Coens and Bridges.

But it's not a great one and, along with Intolerable Cruelty, it may be the most conventional and least Coens - y of the Coens» pictures.

In the case of the Coens, these are great movies that, for me, aren't their greatest.

NYFF will also present a 15th anniversary screening of the Coens» «O Brother, Where Art Thou?»

The screenplay, while having its moments of amusement, would not have been enough to make this a worthwhile endeavor if not for the good casting of the main players and the little visual touches injected by the offbeat minds of the Coens.

Maybe not quite as sharp as we've seen them before, but still landing somewhere near the top of the Coens» comedic game; Hail, Caesar!

But what Hawley injects into the series — again in the spirit of the Coens — is a real sense of style and a brilliant (if obsidian dark) sense of humor.

Immensely inventive and entertaining, the film may not have the enigmatic elegance or emotional resonance of Barton Fink or Fargo, but it's still a prime example of the Coens» effortless brand of stylistic and storytelling brilliance.

The show may (inevitably) lack the somber beauty of the Coens» meticulous compositions, but it nonetheless makes for good - looking, borderline - cinematic television.

• I hate to conclude the first week of Coens revisitation on a relative down note.

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.

• Blood Simple is the only of the Coens» films to have subsequently been remade by another director, in this case the great Zhang Yimou.

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.

I've never responded to Fargo quite as ecstatically as I do to Miller's Crossing, but it's a tremendous film, arguably the most impeccably balanced of the Coens» career.

This essay is timely in its discussion of the Coens and the Western because the Coens» latest film, True Grit — a more traditional Western — is opposite No Country for Old Men in terms of nihilism: True Grit helps preserve social order while No Country for Old Men deconstructs it.

It offhandedly suggests Joel and Ethan Coen before Kumiko, the Treasure Hunter, a film that deliberately suggests the work of the Coens, even begins.

For fans of the Coens, though (and I consider myself one), it suggests, especially on the heels of No Country for Old Men, that they have rediscovered their cinematic vision after several lean years.

But the mordant wit at the heart of the Coens» tale has been stretched to caricature.

And that's all I'll say of the plot, as one of the principle pleasures of the series is seeing how creator Noah Hawley (Bones, The Unusuals) has taken the odd tropes of the Coens» film and reassembled them in surprising ways and satisfying ways.

You never feel it's out of the control of the Coens, whose methodical deliberateness tracks every detail of the story, and Roger Deakins delivers simple and stark images, a desert that sometimes feels like it's lawless frontier.

The meta nature of Barton Fink has been an object of numerous analyses, just like many have tried to delve into the symbolism of Coens» work.

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.

Like most of the Coens» work, there are brilliant moments of black humour, though, like Chigurh, these could become harrowingly violent at any moment.

After «The Ladykillers», the very idea of the Coens remaking another classic had many pundits shaking their heads.