Reviews (470)

VERY funny and original
Yeah, the F-word is uttered about 500 times, the lead character is either drinking or smoking grass all the time, and the core plot was probably written on a couple bar napkins at 2:00 a.m. But this is a laugh-out-loud masterpiece, full of both subtle humor and farce/slapstick. To those who are tired of unfunny Hollywood comedies (does the name "Adam Sandler" mean anything to you?), this is a breath of fresh air. Marvelously inventive in its concept and presentation, with dialogue that almost demands that you watch the movies again. The fact that I came of age in the 60s and was a dedicated stoner for a number of years undoubtedly enhanced my appreciation of this flick. But anyone with a taste for over-the-top humor and quirky characters will love it. While Jeff Bridges was quite good, John Goodman's character is the most memorable in recent memory. BTW, after seeing this movie, you'll never be able to think of the drink "white russian" without laughing.

A very interesting movie..
You wouldn't expect anything lesser from the makers of Fargo and Raising Arizona, arguably two fantastic movies in their own right. The B L is a freaky comedy without any situational plot in particular but weirdly engaging in the theme and its treatment nevertheless.

It's about a man named Jeff Lebowski, who calls himself the Dude, and is described by the narrator as the laziest man in LA County. He lives only to go bowling, but is mistaken for a millionaire named the Big Lebowski, with funny consequences. The Dude is played by Jeff Bridges with a goatee, a potbelly, a ponytail and a pair of Bermuda shorts so large they may have been borrowed from his best friend and bowling teammate, Walter Sobchak (John Goodman). Their other teammate is Donny (Steve Buscemi), who may not be very bright, but it's hard be sure since he never is allowed to complete a sentence.

Los Angeles in this film is a zoo of peculiar characters. One of the funniest is a Latino bowler named Jesus (John Turturro), who is seen going door to door in his neighborhood on the sort of mission you read about, but never picture anyone actually performing. The Dude tends to have colorful hallucinations when he's socked in the jaw or pounded on the head, which happens often, and one of them involves a musical comedy sequence inspired by Busby Berkeley. (It includes the first point-of-view shot in history from inside a bowling ball.)

Some may complain The Big Lebowski rushes in all directions and never ends up anywhere. That isn't the film's flaw, but its style -- ala "Go" and "Swingers". The Dude, who smokes a lot of pot and guzzles White Russians made with half-and-half, starts every day filled with resolve, but his plans gradually dissolve into a haze of missed opportunities and missed intentions. Most people lead lives with a third act. The Dude lives days without evenings.

Definitely a light hearted allround enjoyable movie -- something that deserves more than 9 reviews at Amazon! (as of this writing)

gay
this movie really sucks hairy old fat balls. what kind of trashy filth is this? it dosen't even make sence.

Times like these call for a Big Lebowski.
While I haven't seen the latest Coen Brothers films, like Intolerable Cruelty (2003) or The Lady Killers (2004), I have seen all their movies since O Brother, Where Art Thou? (2000), and I can say I've never been disappointed, and that certainly holds true for The Big Lebowski (1998), the film, not received well by the critics, they made after their Oscar winning film Fargo (1996). While it may not have been a critical success, it is one of my favorite films, and one the rarely gathers dust on my shelf, as I've seen it a few times.

The film boasts quite a cast of actors including Jeff Bridges, John Goodman, Jullianne Moore, Philip Seymour Hoffman, Tara Reid, Ben Gazzara, Sam Elliot along with a few veterans of previous Coen brothers films like Steve Buscemi, John Tuturro, and Peter Stormere. So what is the film about? Well, I'll tell you...The film, which takes place in California in the early 90's, starts off with a little expository by a narrator known as The Stranger (Sam Elliot) giving us a little detail about the main character, Jeffery Lebowski aka The Dude, played by Bridges, who seems to have put on a bit of weight for the role, and sports long hair much like that he had when he was in the 1976 flopperino remake of King Kong. Anyway, the first thing you notice about The Dude is he is extremely laid back, very possibly a casualty of the California counterculture of the 60's and early 70's who seems perfectly content to take each day as it comes. While returning to his modest rental home one night, he finds two thuggish men waiting for him, one who soon acquaints The Dude's head with the inside of The Dude's toilet, while the other decides to despoil The Dude's living room rug in the manner of a unhousebroken dog. Seems these two men work for a smut peddler named Jackie Treehorn, and are looking to collect money owed to Mr. Treehorn by Jeffery Lebowski's wife, Bunny (Reid). Only thing is they got the wrong Jeffery Lebowski. Seeking reimbursement for his rug, The Dude visits the other Jeffery Lebowski, an older, well-to-do wheelchair bound man whose young trophy wife seems to have amassed quite a debt to a number of people, including Mr. Treehorn. This meeting sets into motion a complicated series of events including kidnapping which evolves into a mystery, a ransom request for one million dollars, a suitcase of dirty underwear, a stolen car, an altercation with nihilists, various beatings, guns, a bowling tournament, interpretive dance, a sexual liaison, a ferret, some drugs, painting in the nude, the removal of a toe, a wicky drug-induced dream sequence, copious amounts of profanity and even a death, all with The Dude right smack in the middle.

Jeff Bridges is wonderful as The Dude, a laid back individual with a self awareness few possess having to deal with harshness put upon him by circumstances just always a bit out of his control. He ends up basically going with the flow, finally stumbling on a moment of clarity as the mystery resolves itself. The funniest scenes usually involve The Dude, his friend and bowling teammate Walter Sobchek (Goodman), and fellow friend Donny (Buscemi) as their conversations, riddled with ludicrous tangents, usually devolve into heated debates and personal attacks, usually with Donny getting the worst of it. One of the things I like so much about this film is there is just so much going on, much of which may seem unrelated to the main plot, but I think it's purposeful, weaving an thick, intricate, colorful tapestry right before your eyes and definitely requires numerous viewings, just to soak it all up. There is definitely a beginning, a middle, and an end here, but the path between is very convoluted at times, but not confusing, if that makes sense. Normally I dislike dream sequences in films, as they often tend to be a mish mash of stylistic tripe, but the one in this film was truly enjoyable and laden with symbolism relating to the events preceding it, and even utilizes a song I consider to be a classic in that of Just Dropped In (To See What Condition My Condition Was In) by Kenny Rogers and the First Edition. It was funny, because the core of the story is based on a mystery, but I spent little time in trying to decipher it, as I was so intrigued with everything that was going on, the related and seemingly unrelated material. A word of warning, though, as I've mentioned before, there is a good amount of profanity throughout the film, so if you are easily offended, you might steer clear of this movie.

The film is offered in both wide screen and full screen format, and the picture quality is good, but not as good as I would have expected with such a recent release. Some scenes seemed a bit dark, and there was a slight fuzziness at times, but nothing very notable unless you are seated very close to the screen (I normally refrain from getting so picky, but I've seen this film a number of times). Special features are pretty slim, including a 30-minute interview with the Coen brothers on the making of the film, along with a teaser trailer and cast biographies. I didn't care for presentation much, as after putting the disc in your player, you are directed to pick a format, wide screen or full screen, and the movie would start playing, skipping entirely over the menu, presenting it only after completion of the film, or by pressing the menu button on the remote. This is most common on older or extremely cheap releases (this was originally released in 1998, and then again in 2003 with no enhancements or changes). If any film was ripe for an enhanced special edition re-release, this is it.

Cookieman108

The Coens at their best
I saw this when it came out and didn't get it. After Fargo, The Big L just seemed like a loser's mystery that never went anywhere. A year later my friends are cracking me up doing movie quotes and it helped me see it in a new light. The movie is hilarious! It's awkward at first because the Coens are messing with you, setting up expectations and constantly doing something else instead. Once you're in on the game, sit back, make a white russian, and let the funny happen. ... Read more

Reviews (523)

Homer meets The Three Stooges in the Mississippi Delta!
Alright, folks... here's your riddle of the day: Whaddaya get if you cross the Three Stooges with the Greek poet Homer?

"O Brother, Where Art Thou?" that's what!

Here is another superb comedy finely crafted by screenwriters /producers/ directors Joel and Ethan Coen. Starring George Clooney, Tim Blake Nelson, and John Turturro, it features a brilliantly written script, superb acting by a wonderful ensemble cast, and a musical score that's simply second to none.

"O Brother, Where Art Thou?" is a simple story really... set in the Mississippi delta region during the Great Depression, it's the tale of three petty criminals who escape from the chain gang in quest of buried treasure and experience a series of misadventures along the way. Ulysses Everett McGill (Clooney) is the silver-tongued, self-appointed leader of this odd trio, a man who claims to have stolen and buried over a million dollars in cash. Delmar O'Donnell is the docile, sweet-tempered dimwit (played to perfection by Tim Blake Nelson). The third member of our little gang is an irritable, acerbic fella named Pete. Together they set off, chained to each other, in search of McGill's treasure, which is buried somewhere about to become a man-made lake. Our heroes have only four days to find the loot before it's lost forever at the bottom of the newly created reservoir.

As they begin their journey, the run across an old blind seer who prophesies that they will find a fortune, but not the one they seek. with a posse of law enforcement officers and vigilantes hot on their heels, Everett, Pete and Delmar ditch their chains and prison garb and continue on their quest.

Our trio's journey is anything but quiet and uneventful. They continually run into strange people and situations... At one point, soon after stealing a car and picking up a guitar-playing hitch-hiker, they stop at a local radio station and, posing as an "old-timey" music group called the "Soggy Bottom Boys," they cut a record that's soon all the rage throughout the region. Later they encounter a Baptist congregation at river's edge, singing a beautiful song, lulling our heroes into sweet forgetfulness for a few brief moments. They happen upon three washer-women, also at river's edge, whose siren-like song ensnares our three miscreants... George Nelson, a bank robber on the run, who nearly co-opts our heroes into a REAL life of crime... the one-eyed, fast-talking Bible salesman Dan Teague (played by John Goodman) who offers Everett, Pete, and Delmar a hard lesson on economics and life in general in the Depression-ravaged Deep South... and other characters as well: Governor Pappy "Pass the Biscuits" O'Daniel, running for re-election against a reform-minded candidate named Homer Stokes... Everett's ex-wife Penny, soon to me re-married to a real drone named Vernon Waldrip... and a whole gang of fellas dressed in white sheets and hoods who take exception to our heroes' intrusion into their ceremonies.

One of "O Brother, Where Art Thou's?" greatest strengths is its musical score. As the Coen brothers point out, nary a scene goes by without some kind of music in the background. The songs - 19 of them by my count - are all wonderful. It's a sublime mixture of old-time gospel and country music and African-American spirituals. From James Carter and the Prisoners' "Po' Lazarus," through Alison Krause's sweetly simple and reverent "Down to the River to Pray" (with brilliant harmonies added by the First Baptist Choir of White House, Tennessee); the old-time country classics "I Am a Man of Constant Sorrow" and "Hard Rock Candy Mountain," and "You Are My Sunshine;" to the old-time Gospel classics "Keep On the Sunny Side;" "I'll Fly Away" and "I Am Weary (Let Me Rest)," (and many other songs as well), the music adds an extra dimension to this already multi-faceted film. (By the way, all these songs can be found on the "O Brother, Where Art Thou?" soundtrack compact disc... but that's another review!)

I've now watched "O Brother, Where Art Thou?" about a dozen times. Each viewing has been a genuine pleasure for me. This film is clever in its conception, extraordinary in its execution, sublime in its storytelling, and masterful in its music. In short... wonderfully entertaining in every respect. A definite "must-see" for movie-lovers everywhere!

A Coles Notes approach to Homer's "The Odyssey"
"O Brother Where Art Thou" was an entertaining journey through the Great Depression and Homer's Odyssey. The stellar cast (including George Clooney, John Turturro, John Goodman, and Holly Hunter) shines. All of the characters are quirky to say the least: a one-eyed KKK Bible salesman, a Dapper Dan-obsessed intellectual jailbird, a blues guitarist who sold his soul to the devil, a blind "prophet," the Devil bent on revenge. This is a Coles Notes approach to Homer at best (even the directors, Joel and Ethan Cohen ("Fargo," "The Big Lebowski," "Raising Arizona") admit to never actually having read "The Odyssey," the story on which "O Brother" is based), yet is unusual and highly entertaining in its own right.

Fueled by an eclectic soundtrack, "O Brother" brought about an unheard-of resurgence of early country music, winning the Grammy Award for Best Soundtrack and outselling most other CDs that year. The selections include gospel, blues, a chain gang song ("Po Lazarus") and a hobo anthem ("Big Rock Candy Mountain"), along with plenty of toe-tapping country music from The Soggy Bottom Boys (fronted by Union Station's Dan Tyminski), Alison Krauss, Gillian Welsh, Emmylou Harris, and more.

The film has an unusual look as well: it was digitally edited to give it the washed-out appearance of the Dust Bowl during the Great Depression. There is a very interesting documentary about this process on the DVD; it is the first film to use this technique in North America (although not in Europe). In fact, there are several interesting extras on the DVD, including a making-of, a music video for "I Am A Man of Constant Sorrow," and a script-to-storyboard comparison. "O Brother" is filled with fun, unexpected turns and twists, and a great soundtrack. It may not be the greatest film you'll ever see, but it sure is entertaining!

the best clooney film ever
this is very very loosely based on homers odyssey.you ever hear of this?most people havent.4 dumber than a box of hammers criminals escape from a chaingang to go get a bunch of money one of them stole previously.it is a movie the whole family can enjoy filled with high adventure and many exciting scenes.it is set in 1939.there are a pack of sirens-i call them (...) this one but no fornicating.george clooney gives his best performance ever in this one.it was the best movie in a long time when it came out.an abselute classic.no matter what you hear,this is one of the best films in years.georges ol lady in the movie is a real psycho (...) but is FINE!

Watchable, but why?
The fact is, I've watched this movie three or four times, right through, without really knowing why. It's not exactly Joyce or Kazantzakis. It isn't that good, and Clooney's role and performance are irritating. He didn't play the part well. The songs aren't so very terrific, unless you're addicted to that kind of music. I used to sing "You are my Sunshine" during WWII when I was about 4. I'd heard about Bonnie Face Nelson, and he had a pretty good part. People from the South are often shown as very ugly and extremely fat in movies. The Sirens weren't beautiful, just ordinary. I don't think the Coens really like other people at all: they just watch them. Tommy was a nice fellow, with excellent manners. The cons were very mean to the little kid who rescued them from the burning barn. Early on there were only four days until the valley was to be flooded, then several weeks must have gone by before it actually was. Penelope was not exactly faithful, but she probably wasn't in the original either. That actress has a lot of character: the camera likes her. Probably I just keep on watching it because I'm puzzled and mystified without being bored. You just want to see what happens next, and it could meander on for ever, but stops because it has to. The flood washes nearly all of it away.

One of Their Very Best!!!!!!!!!!!!!!!
I must say at the outset that I am a TOTAL Coen Brothers fan and have seen ALL of their projects. This ranks right up there as one of their crowning achievements.

This is a re-telling of the "Odyssey" by Homer and after viewing this, I finally got a handle on just what the "Odyssey" was about. In a nutshell, it follows the exploits of a man and the exotic characters he meets along his journey. The way the Coen Brothers personified such stalwart literary characters as the Cyclops (John Goodman) and the Furies is most creative.

Excellent performances all around from the likes of George Clooney (in one of his most endearing roles), the incomparable John Goodman, Holly Hunter, John Turturo, Charles Durning and a wonderfully strong supporting cast.

However, one cannot mention the merits of this movie without a mention of the soundtrack. It is most obvious that the Coen Brothers invested an enormous amount of research to make sure that the music adequately accompnaied the mood and tone. A wonderfully indelible example is the use of an acapella song (that utilizes no words, only moans) still used in African-American churches that is beautifully realized.

The music in this project is positively spellbinding, regardless of your particular musical preferences - there is something here for everybody. The soundtrack deserved the kudos it received.

This one you will enjoy over and over and over again!!!!
Eeeeeeeeeeeeeeeeeexcellent! ... Read more

Reviews (282)

You Betcha!
Whenever I rave about a movie I've recently seen, there's the inevitable question "What's it about?" With regard to this film, I recall responding that it's about a pregnant police chief who eventually solves a series of brutal murders somewhere in the Upper Midwest. (Brainerd, Minnesota? Fargo, North Dakota?) It is always a pleasure to observe Frances McDormand's performance in a role for which she received an Academy Award for best actress in 1996. The film was directed by Joel Coen who co-wrote the screenplay with brother Ethan. This film effectively combines some of the most dead-on (albeit affectionate) cultural satire of Scandinavian Americans in "Small Town U.S.A." with severe physical violence as when one victim is stuffed upside-down in a wood chip machine. (When I first observed "Margie" methodically gathering information, I was reminded of Colombo whose keen mind is also underestimated.) The basic story involves Jerry Lundegaard (William H. Macy), a desperate swindler. After his wealthy father-in-law Wade Gustafson (played by Harve Presnell whom I did not recognize) refuses to become involved in a real estate project, Lundegaard hires Carl Showalter (Steve Buscemi) and Gaear Grimstad (Peter Stormare) to kidnap his wife Jean (Kristin Rudrud) so that he can use most of the ransom to cover his debts and thereby conceal his crimes. Of course, his plan fails and several lose their lives as a result. As the film ends, the camera focuses on Chief Gunderson as drives her police sedan across the bleak winter landscape (think of the surface of the moon beneath three feet of snow and ice), with one of the two kidnappers in custody. She claims not to understand how anyone could behave badly in such a "beautiful" world.

Yes, this is a nasty film...at times severely violent. It also has a number of delightful comic moments, notably during Chief Gunderson's conversations with her husband Norm (John Carroll Lynch) as well as with Lundegaard. The acting by all members of the cast is consistently brilliant under Coen's crisp direction. After numerous viewings, what I still enjoy most in this film is McDormand's performance. Chief Gunderson may have a trusting heart but also a remarkably sharp mind. She wants so much to believe in goodness, to think the best of others, but she is by no means naive. As played by McDormand, she invests this film a warmth which is all the more remarkable, given the physical setting and time of the year.

Fargo
The Coens did it again. In their production of Fargo, they create an atmosphere of incompetence in the northern Midwest, poking fun at the people of Minnesota. Frances Mcdormand definitely deserves her Oscar, adding that humorous accent. William H. Macy also puts in a great performance as car salesman Jerry Lundegaard, whose wife is kidnapped by two men he paid to do it, Steve Buscemi and Peter Stormare, and then his wealthy father-in-law can pay the ransom, then he would split the money with the kidnappers, and get out of his financial trouble. Instead of just asking his father-in-law, he hires these two numbskulls, and they screw it up big time. I'm possibly the biggest Steve Buscemi fan, and he's great in this one. I think it would have been interesting, however, if he had tried the Minnesota accent. That probably would have added some more humor to his role, even though it is hilarious already. His interaction with the parking booth attendant his great. Playing his partner, Peter Stormare doesn't talk much, he only has about 15 lines, but is funny and ruthless as it is. This movie also recieved the Best Screenplay Oscar, which was well-deserved. This moive is great.

"..that was your accomplice there in the woodchipper."
Fargo fits into a tiny crack between popcorn flick and truly interesting, and not just because it's based on a true story. It feels the right amount of homely and immersing to be just another irrelevent kidnapping "drama", all the while keeping its simplistic "movie feel".

The story is told from mutliple perspectives of the main characters. A less-than-successful car salesman Jerry Lundegaard [Macy] agrees to pay two crooks, Carl Showalter [Buscemi] and Gaear Grimsrud [Stormare] to kidnap his wife Jean [Rudrüd]. But along the way, complications happen and the body count rises as Lundegaard and his two hired crooks try, unsuccesfully, to follow through on their plan. Through this, we meet the primary character, or the one whose perspective we look through most--Marge Gunderson [MacDormand], a 7-months-pregnant police officer who takes it upon herself to figure out the situation.

Fargo has more of a small town murder investigation plot than a dramatic something-isn't-quite-right kidnapping focus, which does nothing to worsen the quality of the overall storyline and how it plays out, but there are points where you can spot editing errors and total blandness, but the movie itself is shorter than you would expect and manages to work in such an innovative take on the genre to the frame. The acting is done well and is completely convincing, and the good direction goes hand-in-hand with it. As mentioned, there are spots were the script could be better done, but so much whereas it takes away from the feel of the movie.

FARGON CONCLUSION
i SAW THIS MOVIE ONLY TWICE. The first
time I was drunk i also love guys but holes , the second time i was giving birth and the third tme I WAS IN THE LOCAL JOINT FOR STRONG BODY ODOR ROBBERY. I think that thisd movie was so extremely sad that i was laughing for three hours as i swallowed my underarm deoderant tablets.buy this movie now its good

A Shocking Film that took me completely by Surprise.
I expected Fargo to be a light hearted comedy that was set in the midwest. The movie not only was funny but it was thrilling and violent as well. The movie was good, very good actually. Frances McDormand did a wonderful job playing Marge the pregnant police officer. All the other performances are great including Steve Buschemi's as the ransomer of William H. Macy's wife. The plot is very gripping and the low score and cinematography was good too. I highly reccomend this film. ... Read more

Reviews (109)

Can't Remember the Last Time I Laughed This Hard
For some reason, I had no idea that this was a Coen brothers production until the end of the movie. Then, when it was all over and the credits began to roll, it all finally made sense. In fact, I didn't know why I hadn't guessed it. Because this movie is so... Coen brothers.

Nicolas Cage plays Hi, a repeat inhabitant of the Tempe, Arizona prison, where he meets police officer Ed (Holly Hunter) and falls in love with her. After Hi's third parole, he agrees to give up his life of crime for Ed, and the two get married. Before long, they decide that they want nothing more than to start a family. Ed, however, is barren -- and they find that it's not exactly easy for a repeat offender to adopt a child.

When Nathan Arizona, owner of the furniture chain, Unpainted Arizona, is blessed with quintuplets, Hi and Ed decide that the Arizonas have more than they can handle -- so they decide to take one of the babies. But before Hi and Ed can settle into their new lives with little Nathan, Jr., Nathan Arizona offers a reward for the baby, and suddenly everyone's after him.

I honestly can't remember the last time I laughed so hard while watching a movie. I laughed so hard that I choked. I almost died -- but really, can you think of a better way to die? I can't.

Raising Arizona is bizarre and quirky -- and just the expression on Nicolas Cage's face throughout this movie (not to mention his wild hair) will keep you snickering from start to finish. Mix the perfectly ridiculous dialogue and the perfect amount of slapstick, and you've got the perfect addition to any DVD collection.

Quite possibly the funniest movie ever made
I've seen Raising Arizona far more times than I can count. It is, in my humble opinion, next to Kubrick's Dr. Strangelove the most original, inventive comedy ever made.

The dialogue is absolutely razor-sharp -- plenty of examples are certainly readily available in the reviews preceding this one -- and the camera work is wonderful, as well. I'd rank Raising Arizona a VERY close second to Miller's Crossing in a list of the Coen's best films. It is admittedly not as visually stylish as Miller's Crossing (then again, very few films ever made are), and the storyline is not as cohesive as Miller's Crossing, Fargo, or Barton Fink. However, the film is so full of verbal gems that it definitely ranks as the Coen's best dialogue writing effort. Cage and Hunter are wonderful, and John Goodman and William Forsythe are absolutely perfect as the Snopes brothers.

Admittedly, the DVD is nothing very special. All you really get is the more durable medium and a widescreen format. Some kind of "The Making of..." mini-documentary, or better yet, a commentary option with two or three of the actors, the director of photography, or ideally the Coens themselves would have been a priceless addition to the DVD.

Raw, Unvarnished Comedy -- Laughs Galore!
One of the earlier films of the Coen brothers (Joel and Ethan), "Raising Arizona" nevertheless lays the foundation for the Coens' later, more polished efforts.

H.I. ("Hi") McDonough, played with an earnest romanticism by Nicolas Cage, is a classic Coen protagonist. He means well, even if he can't get his master plan to quite come together (this is a man of dreams, forced into the life of a small-time hood by trickle-down economics), and he is prone to speaking in fits of poetry that often go awry ("There's what's right and there's what's right, and never the twain shall meet"). In one of the most inspired courtings ever to be put on film, Hi woos and wins Police Officer Edwina ("Ed"), played by Holly Hunter in a career-defining role, while being booked on numerous occasions.

Denied the joys of parenthood by Ed's infertile womb ("a rocky place where my seed could find no purchase") and Hi's criminal past - Ed's police service doesn't quite "cancel out" Hi's record like they had hoped -- Hi and Ed can't really enjoy their "salad days" in their trailer in the Arizona desert. That is, until the Arizona Quints are born to unpainted furniture magnate Nathan Arizona. Deciding that old Nathan and his wife have more kids than they could handle, Ed and Hi decide to kidnap one of the little nippers. In a scene that parodies "Jaws," Hi snags Nathan Jr., and Ed and Hi are parents.

Unfortunately, Hi's criminal past catches up wtih him as Gale (John Goodman) and Evelle (William Forsythe) break out of prison and hide out with Hi at the family trailer. Soon they are on to Hi's kidnapping, and they decide to pursue their own agenda. Unfortunately for all concerned, bounty hunter Leonard Smalls is on the hunt for the kidnapped youngster, too -- and a nasty bloodhound from hell he is, too. Surely casting "Tex" Cobb in this part is one of the most inspired bits of casting ever!

The movie is chock full of surprises, from the chase scenes involving what seems like ten packs of hounds and more gunfire than one could possibly imagine, to a fight in the trailer that won't be topped until "Kill Bill, Vol. 2," and an over-the-top cameo performance by Frances MacDormand as a nosy neighbor with a fondness for bibical names and a trove of baby advice. The dialogue is rich, filled with comic inspiration and a touching devotion to family. And, like most Coen brothers movies, things generally turn out all right for our heroes, they definitely don't wind up the way they planned.

For fans of the Coens, off-beat comedies, Nic Cage and Holly Hunter (which should describe an awful lot of folks), this is a heck of a film.

Did anyone else notice??
Did anyone else notice that while H.I. (Nicolas Cage) was working in the sheet metal factory after being released from prison, the patch on his jumpsuit said "Hudsucker Industries"??

Had the Potential to be Better
Although this movie had its funny moments and some very memorable lines and quotes, overall I thought it was mediocre. I'm normally a big fan of Nicholas Cage and Holly Hunter, however this movie just didn't deliver. The plot was original and it could have had the potential at becoming a real classic, amusing film, however the hysteria overshadowed the entertainment value of it. There was too much predictable shrieking, screaming, and yelling that it just got annoying after awhile. I thought the worst part was towards the end when things just starting dragging on. Because it's a typical Hollywood movie, the storyline climaxes towards chaos and turmoil, but you can predict that in a typical fashion, there will be a few carchases, some yelling and screaming, some explosions, and then a happy ending (surprise). This movie could have been outstanding if the humor were more carefully thought out and skillfully crafted. ... Read more

Reviews (55)

Very funny remake, It cracked me up
A remake of a 1955 Alec Guinness film, The Ladykillers transfers the action from London to America's rural South. Tom Hanks takes over Guinness' role. And directing duties land in the laps of O Brother Where Art Thou? masterminds Joel and Ethan Coen.

When good Southern church-going widow Marva Munson first lays eyes on Professor Goldthwaite Higginson Dorr III, Ph.D., she's not too sure what she's lookin' at. Besides, she's pretty distracted by the fact that her seemingly dapper-if not a bit dopey-gentleman caller just let her beloved kitty escape through the half-open door. Once the feline is safely back inside (with Dorr's generous assistance), she learns that Dorr wishes to rent a room. She agrees. He gallantly informs her that he plays ancient Renaissance music with a group of colleagues, and requests to use her root cellar for practices. She can't see any harm in that-as long as they're not playing any of that nasty "hippity-hop" music-so the deal is struck.

What follows is part black comedy, part madcap caper and part morality tale. And it's spiced up by exceedingly vibrant characters. Dorr is an eccentric professor-type obsessed with dead languages and the writings of Edgar Allan Poe. He's the mastermind of the heist. Assisting him are Gawain MacSam (a trash-talking ne'er-do-well with a short fuse), Garth Pancake (a bumbling munitions enthusiast), The General (a grimly lethal excavations expert) and Lump (a decidedly dim-witted muscle-man).
"We really like the original movie," says Ethan Coen. "It's a strong story premise. It just has good bones. We ripped out the spine of it, kept that and threw out everything else."

Back in the '40s and '50s, when the Hays Movie Production Code was in place-and the original Ladykillers movie was produced-films were allowed to show criminal behavior only if it was done in such a way as not to make viewers sympathize. Consequences were big back then, as evil men generally reaped what they sowed. The Coen brothers' remake sticks to that ideal, and despite the film's cynically comedic underpinnings, moviegoers leave the theater thinking about what exactly the wages of sin are.

The Hays Code also barred the use of scores of profane and crude words. It's in this realm that the new incarnation of The Ladykillers goes out of control. Had it been released a half-century ago, throngs of outraged moviegoers would have literally ripped its prints from their reels to stop the ruckus. But forget decades-old social standards. Even applying modern artistic sensibilities, I'm left feeling that what I heard while I watched this otherwise masterful movie utterly destroyed its credibility, tore up every layer of its delicate nuance and scribbled haphazardly all over its colorful characterizations.

A disappointing, often unfunny entry from the Coen Bros...
I'll raise my right hand and swear that I'm a huge fan of the Coen bros. I savor every quirky moment of The Big Lebowski, I believe Fargo is one of the best movies ever made, and I think that Barton Fink and Miller's Crossing are classics waiting to be discovered. So why did I dislike The Ladykillers so much? I honestly don't think it was a case of being let down; even a lesser Coen entry (Blood Simple) has its interesting, entrancing qualities. So why is this movie so lame? It sure as hell starts off promising: Tom Hanks, as Professor Goldthwait Higginson Dorr, spews off Coen-esque words with innate skill and Irma P. Hall is hilarious as Mrs. Munson, the old lady who lets Dorr board in her home. They have a curious little chemistry, Dorr and Munson, and their scenes of dialogue elevate the movie. And then the real plot sets in, with supporting character after supporting character. And to boot, some of them don't even fit into the movie at all - Marlon Wayans is especially ill-fitting as a foul-mouthed casino-boat worker who seems to have no other purpose but give the movie an R-rating. But wait! Let's throw in some jokes about Irritable Bowel Syndrome, more cultural stereotypes, and a third act that drags on and on and on and what comes out is simply the worst Coen film I've seen. This movie could have been so much better, and in fact, it's not horrible. There's geniune comedy in it, but too often it's shrouded by the overly-confident directors urging us that we should be laughing our asses off at things that aren't that funny (black churches are hilarious! dumping multiple people into the river is funny even after the 5th time!). If only they'd deployed the subtlety and atmosphere that makes nearly all of their movies great. I wanted so much to like this movie, but when you're done with it after an hour, it's impossible. GRADE: C

So disappointing
I expected this movie to display the same sense of humor as "O Brother, Where Art Thou?", but I was sorely disappointed. There are some funny moments, but Marlon Wayans' unnecessary profranity is so jarring, it disrupts the comedy before it can get started. The best scenes are the dialog-free establishing shots where you'll enjoy the excellent cinematography characteristic of the Coen brothers movies. Second best is Irma P Hall's performance. She's wonderful, especially in her solo scenes or those talking to the sheriff. You really wish the Coen's had thrown away the script, fired all of the "ladykillers" and just rewritten the movie around Irma and the Mississippi setting.

Great movie - if without the swearing
The Coen Bros have offered another hilarious flick. Tom Hanks does a great job in the role as well. The premis of the movie is simple and a good entertainment value. I would consider purchasing this on dvd - if I could show it to my family. However I give it only 3 stars because of the unnecessary profanity which all but ruined the film for me or the family. IF it was release minus the bad language, I would be the first in line to own it.

Southern Comfort
The plot is meaningless : a band of amateur burglars are emptying the underground « money reserve » of an offland casino in Mississippi with a tunnel, explosives, etc. They start from an old black very christian lady's cellar, pretending to be a group of Renaissance or baroque musicians rehearsing there. Banal. The ending is just as surprising as all the different moments of this plot and it is not the main interest of the film. The film is interesting in two elements. First Tom Hanks plays the role of a cultivated scholar specializing in Greek and Latin literature and Edgar Poe's poetry. He is an ephete, sophisticated snob that has a very strong charm on the black ladies of this neighborhood. His acting is just perfect. Second it is humorous but in what I will call a « southern comfort » style. It is slow, calculated, yet inspired and impulsive, responsive too, and never in any way exagerated, always underplayed, more humorous innuendo than hilarious fun. This creates an atmosphere that does represent what Mississippi might be for some people : a contained and always understated and underestimated play on words, circumstances and situations. He who knows or has lived in the South for a while will recognize this slow flow of words and events, as if the climate was making life and the world crawl along, but in style and correct appearances. As for me, I think it is a little too slow at times. The best character is the cat, and this cat is no Fritz the Cat, and yet, maybe it is in a way.

Dr Jacques COULARDEAU ... Read more

Reviews (160)

The Coen brothers tackle Film Noir and get it right
is a delight to find the Coens in top form and an equal delight to view their take on Film Noir. Billy Bob Thornton stars as a seemingly bland and simple barber named Ed Crane whose life is about to be turned upside down after he discovers his wife is having an affair with her boss.
The film starts off slowly, allowing plenty of time for the mood to develop and seep into the viewer's consciousness. The movie is filmed in black and white, a good choice for a story centered in small town life - and, of course, black and white film helps drive home the film noir mood. This is noir with a capital N, heavy on mood, insinuation and tone. You can almost feel the length of the slow-paced days, the heaviness of the hours as they creep by. Every shadow, every moment is tinged with foreboding.
Some viewers who are used to the fast pace of most films today might be put off by the slow, langourous pace of this one - but they'll be missing a rare, lovely treat of a film. They might also find Billy Bob Thornton's monotone voice and unemotional exterior a bit off-putting but I didn't. He is, after all, playing a man who fades into the woodwork, a man who people forget as soon as he walks out the door.
He is also a man who wants a different life than the one he's been living and sets out to make his dreams come true. Unfortunately, his efforts set off a complicated set of tragedies. Far from making the film dark and depressing (in spite of the black and white) these events reveal the precariousness of everyday life and the mysteries of the heart.

Coen Brothers Do It Again
You never know what to expect from the Coen brothers. I guess that's what we like about them. I sure never expected a black and white film about a barber in 1949 California to be anything special...but it is.

Billy Bob Thornton, in one of his finest performances, plays Ed Crane, a quiet, almost ghost-like barber who is married to a woman (Frances McDormand) who barely communicates with him. The problem is, she communicates a little too well with another man who is not her husband. What appears to be a very simple story takes off in several different directions through the course of the film and all of them are interesting and intriguing. 'The Man Who Wasn't There' is a great example of "They don't make 'em like that anymore" filmmaking. The film noir feel is absolutely on target with wonderful cinematography, great period sets and costumes, and superb acting. Thornton's Ed Crane is one of those movie characters that I believe will find himself in the "unforgettable" category along with Nicholson's McMurphy (from 'One Flew Over the Cuckoo's Nest') and Hopkins's Hannibal Lecter.

When the film is over, the viewer is left to think about a lot of things. Some of the questions the viewer may have are answered in the commentary with the Coen Brothers and Billy Bob Thornton, but most of them are left to the viewer to decipher. All of the scenes work for me, except for one which happens during a car ride.

It's too bad this film wasn't seriously considered for Oscar contention. It wouldn't have been a "safe bet" like 'A Beautiful Mind' turned out to be, but it would have caused audiences to think while they're entertained. The Coen Brothers certainly know how to do that.

The Man Who Wasn't There Went Nowhere
The Coen brothers go artsy black and white and it works for the most part - the cinematography is wonderful. Great camera angles, intense shadows and wonderful shades of white/gray/black make "The Man Who Wasn't There" really something to look at. However, actors Billy Bob Thornton, Frances McDormand and James Gandolfini, all have done better work before in other films. You'll find a little bit of intrigue and mystery... but the pace is incredibly slow, and outside of Gandolfini's character being stabbed in the neck, not much happens. The film is all dialogue (and it's none of that trademark witty Coen dialogue we've come to love and expect). The story line is weak and for the most part dull. Thornton's dead-pan monotone delivery of his lines and narration almost drove me insane. No lie, when the movie ended, I said to my wife... "Well, that movie sucked!" I've come to expect so much more from the Coen brothers - they are truly gifted in their medium. With classics to their credit like "Raising Arizona", "Fargo", "O Brother Where Art Thou?", "Miller's Crossing", etc... I can't help but put "The Man That Wasn't There" towards the bottom of their list. Sorry - that's my honest review.

Less is more
The Man Who Wasn't There is the Coen brothers slow-moving film-noirish movie about a chain-smoking barber named Ed Crane (Billy Bob) who has an opportunity to get into the dry-cleaning business, and blackmail his wife's (Francis McDormand) lover (James Gandolfini) for the $10,000 needed to get into the deal with a dry-cleaner (Jon Polito). As with most Coen brothers movies, the simple plot gets involved in subleties that may help or hinder it.

Billy Bob plays Ed with a sedate, reserved manner. Scarlet Johansson has a supporting role as a piano-playing young girl who Ed wants to help get lessons. She turns out to be only a mediocre player, and has no interest in a musical careeer. She does show her gratitude toward Ed in an oral, yet non-verbal way, however.

There are no English subtitles which could have come in handy during the giggly commentary by the Coen's and Billy Bob. The "making of" documentary was a bit below average. The conversation with cinematographer Roger Deakins could have benefitted from his voice-over on top of clips as examples, rather than having to try to remember scenes he is talking about. A few deleted scenes, photo gallery, filmographies and a trailer round out the reasonably-priced DVD.

Rated "R" for some neck-stabbing violence.

Not for everyone, but fans of the Coen brothers, Billy Bob, or Scarlett Johansson should like it. Perhaps generous with 4 stars, I'm giving the movie and extras the benefit of the doubt.

The Coen Brothers Do It Again
"The Man Who Wasn't There" is a great film release from 2001, starring Billy Bob Thorton, Frances McDormand, Scarlett Johansson, and James Gandolfini. The Joel and Ethan Coen, the Oscar winning writers of "Fargo", prove that their creative minds express great and original entertainment. This gloomy themed movie keeps audiences interested in every scene, besides the black and white scenery. The plot of a barber who begins illegal dry cleaning, then becomes blackmailed, is brilliant. Its combination of mystery, drama, and suspense blends perfectly. The special effects, namely the UFO, add more interesting entertainment value. As the series of events unfold, the timely theme builds, leading to a surprising conclusion. Such movie quality offers a great unforgettable film experience. Billy Bob Thorton beautifully acts his role of Ed Gayne, the barber. Gayne's hard times are expressed greatly, which proves more difficult to accomplish because he doesn't speak often. His narration throughout the film offers another sense of mystery and gloomy effect. Frances McDormand's role as Gayne's wife is performed at her top throughout the film, expressing every emotion accurately. Scarlett Johansson proves that she is one of the few child stars with actual acting talent (she was 16). All other actors also perform their roles greatly. "The Man Who Wasn't There" is a great film that will keep audiences entertained for a long time. There is no other film like it. ... Read more

Reviews (87)

the aficionado version
This classic neo-noir has been cleaned up a bit and is ready to delight another generation of cinephiles. While obviously a low-budget independent film, you can't watch Blood Simple without being astonished at the sophisticated imagery and innovative cinematic techniques. It would seem unbelievable that this was the Coen Brothers' first film if subsequent features hadn't reinforced one's awareness of their unique talent. Carter Burwell's music is breathtaking, as integral to the action as Bernard Hermann's score was to Psycho. The cast is superb and DP Sonnenfeld works wonders with shots and lighting.

Frances McDormand is Abby, the wife of Marty, a scuzzy bar owner in Texas. Abby is fed up and movin' on with Ray, one of Marty's employees and, you know, that's just not the kind of thing Marty is going to stand for. He hires the magnificent M. Emmett Walsh to follow the pair. As in the best film noir, no one is pure and no one doesn't lie. Double- and triple-crosses, misunderstandings and betrayals leave a bloody trail brilliantly realized on film with composite fades, Raimi-esque runs, excruciating foley work and a haunting score.

The DVD extras are disappointing in quantity but not quality. There is a theatrical trailer; cast and filmmaker credits; interesting and informative, if short, production notes; English, French or Spanish subtitles or captioning for the hearing-impaired; and a commentary track. While one can't help but be disappointed that there isn't a Coen commentary, the remarks made by Kenneth Loring are absolutely brilliant. If this is, as he states, the "aficionado version", it is largely due to the erudition of this complex man; ultimately Loring leaves the film behind, far far behind, as he explores Merchant-Ivory films, explains animatronics, calls our attention to miniature smoke, exposes Adrian Butts, and laments the loss of the Bulgarian "Son of Todor" storyline. You will never see film in the same way again, once Kenneth L. is done with you.

It is a real pleasure to see this essential film out on dvd.

Coen's Debut film... Simply Wonderful
Before I talk about the film, a word about the wonderfully funny DVD audio commentary by "Kenneth Loring" of "Forever Young Films". Brilliantly tongue in cheek, a posh sounding historian offers some of the most ridiculous comments yet to run along with a film. Now onto the wonderful film by the Coen Brothers... (Raising Arizona, Fargo, Miller's Crossing). BLOOD SIMPLE takes the thriller genre and twists it 180 degrees. The extremely tight screenplay introduces us to several wonderfully dysfunctional people, including Abby (Frances McDormand), Ray (John Getz) and Marty (Dan Hedaya). Rather then take their love triangle to afternoon talk shows, they resort to murder... Just to make the whole thing all the more interesting, a gumshoe (M. Emmet Walsh) is involved to screw things up even more. The cinematography is wonderfully shot by Barry Sonnenfeld, director of THE ADDAMS FAMILY, GET SHORTY and the upcoming BIG TROUBLE. And the musical score by Carter Burwell perfectly supports the scenes tension. The wonderful film is often reminiscent of their later film, FARGO. I am very glad to be able to see this film again with a wonderul audio and video transfer. But, if truth be known, the biggest surprise is the audio commentary. That alone is worth the price of admission...

a simple story, a bit gruesome
I didn't really enjoy this movie. The story is of a love triangle that leads to a contract killing that goes bad. There are twists and turns to the story, but they are the only things that keep the story going and they didn't really seem that fascinating to me. The answers to the questions that arise are answered fairly quickly so there's not much tension or mystery built up. There's some gore. There's a pretty good joke near the end. It's a chance to see Frances McDormand, who I think is a really good actress, in an early role.

Excellent thriller
This movie is a nearly flawless thriller. It's dark and sometimes bloody, but sprinkled with the quirky characters and odd, dark humour that fans of the Coen's have come to cherish. It is tight, taut, and tense - nearly perfect.

Grab it if you love thrillers, noir, or the Coens.

The audio commentary track is *hysterical*, though many may not appreciate the humor. Please don't mistake it for the real thing; the track is a joke.

I'm a believer
Hi, I have not seen nor purchased this DVD but after reading some of these reviews had to comment--the ORIGINAL theatrical release had the Four Tops "The Same Old Song" during the "cleanup" scene and the ending credits. The Four Tops song, not the Neil Diamond song (or Monkees or whoever) is the ORIGINAL. I don't know what happened, but I vividly remember the first time I saw the film in the theater (Same Old Song) and then when I saw it again (I'm a Believer) I was extremely shocked and disappointed at the replaced music--It doesn't even fit with the storyline, that the bartender guy would insist on playing a Neil Diamond song--the Same Old Song fits better with his character and with them movie. I have never enjoyed the movie as much after they changed the music and am very pleased that they decided to go with the original song for the Director's Cut. ... Read more

Reviews (81)

You know . . . for movie lovers!
Massively undervalued thematic sequel to *Barton Fink*. I say that because *The Hudsucker Proxy* (a bad title that guaranteed box-office oblivion, btw) treads a lot of the same water as the earlier film: hucksterism, commericalism, the notion that one person can singlehandedly come up with One Great Idea -- in short, the American Dream. This time, it's the world of business instead of Hollywood, but the corporate fatcats at Hudsucker Industries are relevant enough "proxies" for movie-studio fatcats; i.e., the point is well-taken. Indeed, the movie is -- as most Coen Brothers movies are -- about movies themselves, and you're not giving the Coens enough credit if you think *The Hudsucker Proxy* is merely a send-up of some Frank Capra movie. It's a send-up of the entire film industry, which is pretty cheeky, considering that this was their first "big-budget, major-studio" production. If you must have it: the plot concerns a doe-eyed graduate of Muncie Business College who winds up in the basement mailroom at Hudsucker Industries in New Yawk City. The President of the company has just taken a swan-dive from the 45th floor (not counting the mezzanine). Meanwhile, the fatcats on the Board of Directors, of which Paul Newman is the cattiest, come up with the brilliant idea of promoting a moron to the President's chair in order to devalue Hudsucker stock -- that way, they can buy up the remaining shares of the company, after which the moron can be comfortably dispensed with. But Tim Robbins, the putative moron, has one killer idea up his sleeve that throws a monkeywrench in the gears. But don't take all this too seriously. The fun's in the details . . . and, let's face it, you probably have to be in on the joke to really appreciate what the Coens are doing here. Meaning? They assume you have a knowledge of old-movie conventions, and that you appreciate the homage this movie pays to them. Basically, they insist that you bring something to the party. They insist you get off your Lazy-Boy and meet them halfway. Oh, by the way: the movie's hilarious, too.

You know, for kids!
When Waring Hudsucker (Charles Durning) of Hudsucker's Industry commits suicide by plunging out the window of his building, the board of directors lead by Sidney J. Mussburger (Paul Newman) comes up with a brilliant scheme. They will appoint a 'proxy' president for the company, someone so stupid that their stocks will drop. And when they do, the board of directors will buy up all the stocks, then restore their fortunes. So who do they appoint as their proxy? Who else but idealistic and naive Norville Barnes (Tim Robbins)? But things don't exactly work out perfectly for the greedy board of directors as Pulitzer winner report, Amy Archer (Jennifer Jason Leigh), starts digging around. And suprisingly, Norville just might not have been the perfect 'dummy'...

The key word to describing this movie would probably be 'bizarre'. And bizarre it is. The plot is admittabley very original, and the directors (and writers) Joel and Ethan Coen put a certain style into this movie which we don't see very often. Most of the humor is incredibly dry while there is some slapstick involved.

The characters in the film are not your average characters in that they are so obviously two-dimensional but the actors give such a flair into their acting that you can't help but love 'em. Take Tim Robbins as Norville for example, he's totally lovable though he's not actually very birhg or incredibly smart. But I must say that Jennifer Jason Leigh's character Amy Archer is one of the most fascinating characters I've seen. She's a replica of the sassy Katherine Hepburn and as fast-talking as Rosalind Russel in "His Girl Friday". She just talk soooooo fast that I recommend you see the movie at least twice to enjoy her dialogue all the more so.

My recommendation for "The Hudsuckers Proxy"? I'd say that a rental first is a good idea. I'm really not sure if everyone will love this movie since I feel that only certain people could appreciate the humor and the whole 'bizarreness' of the film.

Boring beyond belief
This is one of the most boring movies I have ever seen. I wish I could give the movie a rating of zero stars, but that isn't an option. I just got through watching "The Sword of the Valiant", it was so bad it made me smile. "The Hudsucker Proxy" is so bad it made me groan. I couldn't wait for it to end. It was pure torture, I expected a lot better from Tim Robbins, Paul Newman, and Jennifer Jason Leigh. I would just burn the DVD, but maybe I can find someone who will be as taken by this movie as all the other people who gave it glowing reviews, maybe one of them would be willing to give me the $15 I paid for this turkey.

a thingamajig that would bring everyone together
A film by the Coen Brothers

"The Hudsucker Proxy" is the fantastic story of Noville Barnes (Tim Robbins). Norville is just some poor shmoe looking for work, but he isn't qualified for anything and he has no work experience. He takes a job as a mailroom clerk at Hudsucker Industries. We're not sure what they do or what they make, but at a board meeting, we find out the company is posting record profits. When a man is done with his litany of the company's successes, the chairman, Mr Hudsucker himself, stands up on the long table, starts running, and commits suicide by jumping out the window and falling to his death.

What to do? The rest of the board needs to be able to purchase a controlling interest in Hudsucker stock, but the stock price is too high. The formulate a plan to temporarily drive down the stock prices by hiring as president of the company someone so incompetent that shareholders will be so scared that stock prices will plummet. The dimwit president: Norville Barnes. It is Sidney Mussburger (Paul Newman) who is pulling the strings behind the scenes to make all this happen; it is his master plan that sets all this in motion.

Amy Archer (Jennifer Jason Leigh) is the fast talking reporter who goes undercover to investigate Norville and find out why Hudsucker would have hired him as the president. "The Hudsucker Proxy" is funny in a smart, clever way, and is highly entertaining. The Coen Brothers do not make ordinary or conventional movies ("Intolerable Cruelty" aside), but they definitely make some of the top movies of any given year.

-Joe Sherry

Not the Coens greatest, but.............
This is a great movie from the Coen brothers. It is not a violent or gory as some of their other films, but there are certainly some very devious characters. The movie includes a heavily character driven story, it is very well paced and fun all the way through. The visual style is brilliant, showcasing the Coen brother's ability to make film footage of ordinary settings seem surreal and slightly comic bookish, and they keep it up consistently for the length of a movie. This inevitably aids their storytelling by making the movie's world distinct and vivid as a setting for the characters who are equally ordinary yet unmistakeably unusual. ... Read more

Reviews (162)

Best Irish Mob Film
While not given much attention upon release, Miller's Crossing has developed a devoted cult following, particularly among fans of the Coen Bros. Ratcheting up the elements that made Blood Simple so popular (grotesque, humorous violence, bizarre but consistent characters, random chance undoing complex plans, incredible plot complexity, etc. etc. etc.), Miller's Crossing nonetheless manages to be far more emotionally powerful than the earlier film. This one bears quite a few repeat viewings, with a plot full of more twists and turns than most of us can follow in one sitting. Like most of the Coens' films, this is tremendously enjoyable, even when you're not quite sure what's happening or why. This is one of my all-time favorites. A perfect script, great cinematogrophy, a top-notch cast, and, of course, flawless production and direction make this one a classic waiting to be discovered. Simply put, one of the best films ever made. Miller's Crossing is a morality play created with infinite style. Complex characters, complex plot, excellent acting, and great editing. Probablly Gabriel Byrne's best work. If you consider yourself a sophisticated moviegoer, this is not one to miss. But a caveat to the mainstream, you can't eat popcorn and watch this movie at the same time; it requires your full attention. And if you thought that the Road to Perdition was a great film you will probably not understand why so many of us love Miller's Crossing.

My Favorite Film
Everyone has a movie that they see for the first time and it speaks to them in such a way that it is firmly entrenched in their psyche for all time. Miller's Crossing is that film for me. From the first time I watched this movie in 1990 to my 50th viewing a couple of months back the film has always seemed fresh, vibrant & undeniably a true Coen brothers movie. Filled with the usual oddball characters (from the sleazy Bernie Bernbaum to our quiet Anti-Hero Tom), hilarious dialogue & twisted plotline we enter the dark heart of 1930's Gangland America. Tom Reagan (Gabriel Byrne, in probably his best role) is the right hand man to Irish underworld boss Leo (Albert Finney) and also lover to Leo's moll Verna (Oscar Winner Marcia Gay Harden, in her first role). All is well until fellow gangster Johnny Caspar (Jon Polito) tells Leo that he wants to whack Bernie Bernbaum (John Turturro) for selling out his fixed fights. Unknown to Johnny however is the fact that Bernie is Verna's brother and when Leo refuses permission to kill him a gang war erupts. Tom finds himself torn between his loyalty to Leo and his love to Verna and thus begins a spiral into deceit, betrayal & death. The major theme of this movie however lies within loyalties, truth and as Johnny Caspar puts so eloquently at the beginning of the film "it's about ethics"--funny coming from a deranged killer & mob boss. In this world of gangsters, it is misguided loyalties which kill and words of truth that cause trouble. Only Tom and Johnny Caspar's muscle The Dane (J.E. Freeman) seem to know which way is up and the two clash constantly throughout the film. Tom always seems in control as the movie progresses, even as his world falls down around him, and we wonder if his brillant Machiavellian-like plan will come to fruition. I'll stop here and let the film do the rest. Every one of the performances is top-notch and it is hard to see character actors like Freeman & Polito in any other movie--it's almost like they were born for these roles. Byrne is solid as the stoic Tom, Finney is a marvel as Leo and you can see why Marcia Gay Harden's career florished after this role. But really Turturro turns this film into a masterpiece with his classic portrayal as Bernie. He definitely deserved a Best Supporting Actor Oscar for this role but the Academy ignored this movie as they would all Coen Bros. films until Fargo. In closing, Miller's Crossing is a film for fans of film, with beautiful cinematography, Carter Burwell's brillant soundtrack, excellent acting and tour de force directing by the Coens. It begs repeated viewings and never fails to deliver. A Masterpiece of Cinema and my all-time favorite film.

Some Background
"Miller's Crossing" is a direct linear descendent of "Blood Simple" which was extracted from a line in a Dashiell Hammett novel. In turn, I think "Miller's Crossing" is a homage to one of the best writers of the 20th century. Everyone praises the crisp, cynical dialog of "Millers Crossing" and the complex plot that still holds together. This is characteristic of a Hammett novel. While everyone is familiar with Hammett's "Maltese Falcon," "Miller's Crossing" is more of a blend of the character's and story line found in his "The Glass Key" and the gang war is similar to one in his "Red Harvest". If I am right, the Coens couldn't have a better teacher.

"Danny Boy"
The scene in which "Danny Boy" provides the musical counterpoint (I won't describe the scene in case you have yet to see the movie) wonderfully contrasts the beauty of the song with the horrific, yet gorgeously presented, violence of the scene.
It is the most memorable film scene I have encountered. The version of "Danny Boy" used is also the best rendition of this sentimental song that I know of.

Not Good.
'Miller's Crossing' was a film I couldn't keep up with. It did not give enough time for character or story development. I lost interest in the story and people fast. ... Read more

Reviews (55)

Very funny remake, It cracked me up
A remake of a 1955 Alec Guinness film, The Ladykillers transfers the action from London to America's rural South. Tom Hanks takes over Guinness' role. And directing duties land in the laps of O Brother Where Art Thou? masterminds Joel and Ethan Coen.

When good Southern church-going widow Marva Munson first lays eyes on Professor Goldthwaite Higginson Dorr III, Ph.D., she's not too sure what she's lookin' at. Besides, she's pretty distracted by the fact that her seemingly dapper-if not a bit dopey-gentleman caller just let her beloved kitty escape through the half-open door. Once the feline is safely back inside (with Dorr's generous assistance), she learns that Dorr wishes to rent a room. She agrees. He gallantly informs her that he plays ancient Renaissance music with a group of colleagues, and requests to use her root cellar for practices. She can't see any harm in that-as long as they're not playing any of that nasty "hippity-hop" music-so the deal is struck.

What follows is part black comedy, part madcap caper and part morality tale. And it's spiced up by exceedingly vibrant characters. Dorr is an eccentric professor-type obsessed with dead languages and the writings of Edgar Allan Poe. He's the mastermind of the heist. Assisting him are Gawain MacSam (a trash-talking ne'er-do-well with a short fuse), Garth Pancake (a bumbling munitions enthusiast), The General (a grimly lethal excavations expert) and Lump (a decidedly dim-witted muscle-man).
"We really like the original movie," says Ethan Coen. "It's a strong story premise. It just has good bones. We ripped out the spine of it, kept that and threw out everything else."

Back in the '40s and '50s, when the Hays Movie Production Code was in place-and the original Ladykillers movie was produced-films were allowed to show criminal behavior only if it was done in such a way as not to make viewers sympathize. Consequences were big back then, as evil men generally reaped what they sowed. The Coen brothers' remake sticks to that ideal, and despite the film's cynically comedic underpinnings, moviegoers leave the theater thinking about what exactly the wages of sin are.

The Hays Code also barred the use of scores of profane and crude words. It's in this realm that the new incarnation of The Ladykillers goes out of control. Had it been released a half-century ago, throngs of outraged moviegoers would have literally ripped its prints from their reels to stop the ruckus. But forget decades-old social standards. Even applying modern artistic sensibilities, I'm left feeling that what I heard while I watched this otherwise masterful movie utterly destroyed its credibility, tore up every layer of its delicate nuance and scribbled haphazardly all over its colorful characterizations.

A disappointing, often unfunny entry from the Coen Bros...
I'll raise my right hand and swear that I'm a huge fan of the Coen bros. I savor every quirky moment of The Big Lebowski, I believe Fargo is one of the best movies ever made, and I think that Barton Fink and Miller's Crossing are classics waiting to be discovered. So why did I dislike The Ladykillers so much? I honestly don't think it was a case of being let down; even a lesser Coen entry (Blood Simple) has its interesting, entrancing qualities. So why is this movie so lame? It sure as hell starts off promising: Tom Hanks, as Professor Goldthwait Higginson Dorr, spews off Coen-esque words with innate skill and Irma P. Hall is hilarious as Mrs. Munson, the old lady who lets Dorr board in her home. They have a curious little chemistry, Dorr and Munson, and their scenes of dialogue elevate the movie. And then the real plot sets in, with supporting character after supporting character. And to boot, some of them don't even fit into the movie at all - Marlon Wayans is especially ill-fitting as a foul-mouthed casino-boat worker who seems to have no other purpose but give the movie an R-rating. But wait! Let's throw in some jokes about Irritable Bowel Syndrome, more cultural stereotypes, and a third act that drags on and on and on and what comes out is simply the worst Coen film I've seen. This movie could have been so much better, and in fact, it's not horrible. There's geniune comedy in it, but too often it's shrouded by the overly-confident directors urging us that we should be laughing our asses off at things that aren't that funny (black churches are hilarious! dumping multiple people into the river is funny even after the 5th time!). If only they'd deployed the subtlety and atmosphere that makes nearly all of their movies great. I wanted so much to like this movie, but when you're done with it after an hour, it's impossible. GRADE: C

So disappointing
I expected this movie to display the same sense of humor as "O Brother, Where Art Thou?", but I was sorely disappointed. There are some funny moments, but Marlon Wayans' unnecessary profranity is so jarring, it disrupts the comedy before it can get started. The best scenes are the dialog-free establishing shots where you'll enjoy the excellent cinematography characteristic of the Coen brothers movies. Second best is Irma P Hall's performance. She's wonderful, especially in her solo scenes or those talking to the sheriff. You really wish the Coen's had thrown away the script, fired all of the "ladykillers" and just rewritten the movie around Irma and the Mississippi setting.

Great movie - if without the swearing
The Coen Bros have offered another hilarious flick. Tom Hanks does a great job in the role as well. The premis of the movie is simple and a good entertainment value. I would consider purchasing this on dvd - if I could show it to my family. However I give it only 3 stars because of the unnecessary profanity which all but ruined the film for me or the family. IF it was release minus the bad language, I would be the first in line to own it.

Southern Comfort
The plot is meaningless : a band of amateur burglars are emptying the underground « money reserve » of an offland casino in Mississippi with a tunnel, explosives, etc. They start from an old black very christian lady's cellar, pretending to be a group of Renaissance or baroque musicians rehearsing there. Banal. The ending is just as surprising as all the different moments of this plot and it is not the main interest of the film. The film is interesting in two elements. First Tom Hanks plays the role of a cultivated scholar specializing in Greek and Latin literature and Edgar Poe's poetry. He is an ephete, sophisticated snob that has a very strong charm on the black ladies of this neighborhood. His acting is just perfect. Second it is humorous but in what I will call a « southern comfort » style. It is slow, calculated, yet inspired and impulsive, responsive too, and never in any way exagerated, always underplayed, more humorous innuendo than hilarious fun. This creates an atmosphere that does represent what Mississippi might be for some people : a contained and always understated and underestimated play on words, circumstances and situations. He who knows or has lived in the South for a while will recognize this slow flow of words and events, as if the climate was making life and the world crawl along, but in style and correct appearances. As for me, I think it is a little too slow at times. The best character is the cat, and this cat is no Fritz the Cat, and yet, maybe it is in a way.

Dr Jacques COULARDEAU ... Read more

Reviews (94)

Coen's Unique Take on Hollywood
The Coen brothers are probably the most commited but inconsistent filmmakers of the past twenty years. BARTON FINK is a sturdy story about a powerful playwrite turned reluctant screenwriter. It's difficult to put into words teh resulting film. It has elements of comedy, drama, character study, thriller and even horror film. Which one it gets filed under is difficult to tell and in that lies one of its faults. The other fault would be some excessively long redundant scenes. The film is also brimming with positives. Great performances by Coen favorites John Turturro and John Goodman and a scene stealing Michael Lerner is worth the price of admission. But, the most unique performance in the film is by the Hotel Earle. Under Coen direction, the hotel breathes with more life than many actors. From its long hallways, to the paper thin walls giving audio clues of the tennants personal lives, the peeling wallpaper, the brainwashed employees to the sound of air rushing out when every door is open. That in itself is an incredible feat. If you are looking for one of the Coen brothers comedies like RAISING ARIZONA, HUDSUCKER PROXY or O BROTHER WHERE ART THOU, this definitely ain't it.

Difficult but rewarding
Barton Fink is a nightmarish film and a black comedy, much of which takes place in a lifelike hotel sparsely populated by grotesque characters. Barton is himself a nervous, self-absorbed nerd, and fits right in. His roomate, Charly, is an overweight salesman with an ear infection who has some kind of bizarre telepathic connection with the hotel. Their conversations are sublimely entertaining, and undeniably the work of the Coen brothers.

Even if the somewhat self-absorbed plotline of a playwright unable to write a wrestling screenplay due to personal eccentricities doesn't interest you, the film is visually fascinating from beginning to end. Stylistically, it resembles a mutation of David Lynch and Stanley Kubrick, which in itself should promise a good, eerie, challenging two hours of surrealism and allegory. Indeed, it's full of clever visual clues that will spark arguments over what it all means. Should be of interest to the artsy-fartsy crowd, conventional types shoudn't waste their time.

They did improve.
I enjoy Coen brothers' movies... usually. This was an exception. I'm happy it was not the first of their movies I viewed, or it might have been the last. It had its moments, but overall it just wasn't worth the time.

Why this is Hell, nor am I out of it.
Okay, "Barton Fink" is a satire on the old studio system. It may also well be a symbolic depiction of the Holocaust. The Book of Daniel certainly features strongly in the mix. And it's an attack on the foibles of the twitchy intellectual, particularly the self-righteous left-wing "voice of the people" type. But, just to keep the pot boiling, let me point out that the film's narrative framework is adapted from the legend of Faust. In large part, Christopher Marlowe's "Doctor Faustus".

The Faust figure is Barton, needless to say. Charley/Karl is Mephistopheles. And Audrey is Gretchen/Marguerite, the admired female figure who turns out to be a little less than what was desired. Barton is frankly devoted to the life of the mind, obsessed with creativity and the longing to learn the secret of life and bring it home to the Little Man, the Common Man. Charley/Mesphisto offers his assistance (by teaching him wrestling--this is a Coen brothers film, remember). He fails, but at last Barton does sell his soul--to Audrey, the no longer idealized "eternal female". And as the deal is sealed with a bout of sex, the camera glides to the bathroom sink, where it slides down (I stole this part from John Simon) straight to Hell, which is ruled not by friendly, easygoing Charley, but by Madman Mundt (the real Karl Mundt, by the way, was a notorious right-wing congressman of the period, for what that's worth).

So okay, it's not a one-to-one correspondence. But neither was "O Brother, Where Art Thou?" perfectly congruent with the Odyssey. (e.g. which one was Homer--the old black guy with the beard or the country DJ?) The Coens use these sources not as road-maps, but as takeoff points, which is as it should be.

As is often mentioned below, the cinematography here is outstanding, obtaining a kind of rotten lushness comparable only to "Blue Velvet". The Coens have always been standouts in dealing with actors, and this film is no exception. If Turturro wasn't so goofy-looking he'd be a superstar on the strength of this picture alone, but then he wouldn't have been in the picture. Seeing Lerner here makes me wonder why he isn't used more often. But the standout, as is so often the case, is Goodman. It's not easy to continue thinking of him as the jolly fat guy after seeing his "You don't listen." soliloquy at the climax.

A lot of people view the Coens as the cinematic exemplars of pomo, but I don't think that's true. Pomo demands you take the theories dead seriously while mocking everything else. The Coens reverse the formula, mocking all forms of intellectual pretension while taking life in general--and the horror that lies behind it--very seriously. That's a rarity in any art form, particularly film. So take a look, and be shown the life of the mind.

And oh yeah--I don't know what they're doing with that ending either.

Startling and impenetrable.
Easily the smartest of the Cohen Bros. films (and the darkest), Barton Fink employs an amazing economy of substance to weave a multiplicity of complex stories and meanings into an entertaining piece of very appealing cinematography.

To be found here are a number of different parables, all well-developed and supported by the meticulous detail in the film... everything from an allegory on the rise and course of Nazism during the 1940's, to a critique of communism constructed as warning about the secretly borgeious nature of the common man's intellectual, to an 8 1/2-esque statement about the dangerous and self-digesting face of the commercial-artistic milieu in the modern marketplace-studio. At play also are a number of riddles, including an imagined head that pits postmodernism against phenomenology, a biblical dance with Nebuchadnezzar for those who know their Bible, and a reversal of the narrative order through the presence of a hidden film-within-a-film.

Many mainstream critics focus on one particular interpretation of the film or fixate on one of these riddles and gloss the rest of the film's richness away as "surrealism" or "stylized darkness." Readers who read a number of these seemingly disparate reviews might be startled to find them all to be correct when held up to the film itself. A much more enjoyable way to explore the complexity and astonishing intelligence of the writing behind Barton Fink, however, is to watch it repeatedly.

Indeed, you'll notice something new, connect a few different dots in a different way, each time you see it. That the Cohen Bros. were not more richly rewarded for constructing such a remarkable "text" is sad indeed!

One of the best films of the twentieth century. ... Read more

Reviews (282)

You Betcha!
Whenever I rave about a movie I've recently seen, there's the inevitable question "What's it about?" With regard to this film, I recall responding that it's about a pregnant police chief who eventually solves a series of brutal murders somewhere in the Upper Midwest. (Brainerd, Minnesota? Fargo, North Dakota?) It is always a pleasure to observe Frances McDormand's performance in a role for which she received an Academy Award for best actress in 1996. The film was directed by Joel Coen who co-wrote the screenplay with brother Ethan. This film effectively combines some of the most dead-o