1001 Movies You Must See Before You Die- Inside Llewyn Davis

#1164- Inside Llewyn Davis (2013)
Starring: Oscar Isaac, Carey Mulligan, Justin Timberlake
Directed by: Joel and Ethan Coen


Plot Summary: Llewyn Davis is a struggling folk singer living day by day in New York City's Greenwich Village. Originally part of a duo, Llewyn has tried making it as a solo artist after his partner committed suicide, but is debut album is not selling. After spending a night sleeping at a friend's apartment, Llewyn accidentally lets their cat escape and carries it with him to the home of Jim and Jean Berkey. While there, Jean informs Llewyn that she is pregnant and hints at the idea that it could possibly be his. Along his journey to stardom, Llewyn has to endure many tribulations, including giving up his royalties for a performance in order to make some quick money, traveling to Chicago with a soft spoken beat poet and a loudmouth jazz musician, auditioning for the famed Bud Grossman, and trying to reenlist with the Marines. With an upcoming gig at the Gaslight, could this be Llewyn's big break?


To close out my look at the Coen Brothers, we have a film that was put on the list only a month ago: Inside Llewyn Davis. Now, when I saw the list of new movies that were added this year, this one had me scratching my head. Sure, I enjoy the Coen Brothers' films, but this one wasn't as well received as their other projects and even my English professor (shout out to Dr. Fruhauff), who is a HUGE Coen Brothers fan, found it odd that this was considered a film everyone should watch before they die. Needless to say, I was unsure how to approach this one and after watching it and thinking it over...I'm still unsure whether or not I liked this movie.

When the film fist came out, the thing that had everyone talking was Oscar Isaac's breakthrough performance as Llewyn Davis. You really find yourself rooting for Llewyn even if he isn't kind to others, or has an indifferent and sarcastic attitude. Llewyn embodies the dream that virtually anybody has or wants in achieving their dreams. Isaac brings a sincerity in making the desire for the dream come out in Llewyn, and when he stumbles on his path, it's absolutely devastating to witness. You can feel the weight of his world come down with every obstacle or criticism that is put in his way and you hope for some good luck to come his way. This is one of the only Coen Brothers' films I've seen where majority of the screen time is focused on a single character. Their films are notorious for their engaging side characters, but here they're almost footnotes in comparison to how much of the film is dedicated to solely telling Llewyn's story.

The only real character that gets a lengthy amount of screen time is Llewyn's "friend" Jean Berkey, played by Carey Mulligan. Jean is unkindly cruel towards Llewyn at every chance she gets and is the center of a very controversial topic that is covered in the film (I don't wanna give much away, but let's just say it involves a baby). I saw an interview on the DVD bonus features, and Mulligan says she believes Jean is hard on Llewyn because she sees his potential and that he's straying far from it. Honestly, I didn't get that when I saw her performance. Her husband Jim Berkey, played by Justin Timberlake, is a much more likable and friendly character to Llewyn, but he lacks some serious screen time. Of course, it's Justin Timberlake, so he's gonna make the most of what screen time he has, and he makes up for how little he's on screen by lending his talents on the film's soundtrack in a handful of songs (which is always enjoyable).

One of Llewyn's most interesting journeys in the film is when he hitches a ride to Chicago with two bizarre musicians. The first is jazz musician Roland Turner, played by John Goodman, and the second is beat poet Johnny Five, played by Garrett Hedlund. I suppose their dynamic is interesting, since Johnny barely speaks and Roland doesn't shut up, but these guys barely have any screen time and once they are gone, they aren't mentioned again nor do they really contribute anything meaningful for Llewyn on his journey to stardom other than giving him an opportunity for a few snarky comments and being his ride to audition for Bud Grossman, played by F. Murray Abraham. Once they were gone, I honestly felt like their talents were wasted, especially Goodman's which is a shame considering his history with the Coen Brothers.

One thing that's for sure about Inside Llewyn Davis is that it's not the feel good movie of the year 2013. The film's darker tone from some pessimistic and often mean spirited characters, and a mixture of sarcastic and dreary dialogue definitely makes it difficult to smile throughout the film. So many characters are down on Llewyn that you really feel bad for the struggling musician. His moments of comedy are from a deep frustration that many can relate to, but I certainly can't imagine that making many viewers actually "happy." As far as whether or not I believe this is a film to watch before you die, only time can tell. Every year or so, most of the most recent additions to the list are removed after a year of hindsight and are replaced with even newer additions to keep the list current. I believe Inside Llewyn Davis will probably get removed, so if you're going to watch it, make sure you watch it soon while it's still relevant within the list.


Rating: 3.5 out of 5 stars

The one part of Inside Llewyn Davis that I believe is universally enjoyable is the music, which has always been a focal point in the Coen Brothers' films. But I think the darker tone might alienate general audiences so give it a watch only if you love the Coen Brothers and folk music.

Inside Llewn Davis and movie images are copyrighted by CBS Films

1001 Movies You Must See Before You Die- True Grit

#1133- True Grit (2010)
Starring: Jeff Bridges, Matt Damon, Hailee Steinfeld
Directed by: Joel and Ethan Coen


Plot Summary: Young Mattie Ross arrives to identify and collect her father's body after he was murdered in cold blood by a drunk named Tom Chaney. Determined to avenge her father's death, Mattie hires a Deputy U.S. Marshall by the name of Rooster Cogburn to track Chaney down. To make sure it goes well, Mattie insists on joining Rooster for the journey. Chaney is also being tracked by a Texas Ranger named LaBeouf, who proposes to team up with Mattie and Rooster since they're all after a common bounty. Their trail leads them to catch up with Chaney, who is now in the company of "Lucky" Ned Pepper on Indian Territory, and when Mattie is held in their captivity, it becomes a struggle to see who will come out on top in this stalemate of Mattie, Rooster, and LaBeouf against Chaney, Pepper and his men.


Let's not cut to the chase with this one. There's a very simple premise with how I wanted to tackle True Grit, and that's under the idea that this is a remake. Yes, there are TWO versions of True Grit out there, this one, and the original being a John Wayne classic. So of course, the obvious question going into the 2010 version was finding out what was so special about this one that it made the list over an iconic Western starring arguably the most iconic cowboy in history. To be honest, I'm not sure I was able to figure out why. The original, while much tamer in terms of content, tells most of the same story and does so with a cast featuring the likes of John Wayne and Robert Duvall. I mean...it's a Western starring John Wayne and Robert Duvall and it does NOT make the list? Yet the Coen Brothers are able to make a film that so surpasses the original that it's deemed worthy? Considering this film was nominated for 11 Academy Awards and walked away with nothing, it's quite possible that this could drift more towards the overrated pile of Coen Brothers' films.

Jeff Bridges reunites with the Coen Brothers to take on the role of Rooster Cogburn. Since the original Rooster was played by the iconic John Wayne, Bridges had HUGE shoes to fill, but thankfully he doesn't try to do a John Wayne impression. He really does make the character his own, and his drunken state almost makes me believe that Rooster could be an Ol' West version of Bridges of the Dude. I will say the biggest problem I have with Rooster is how he's built up as this great bounty hunter and we see more of him in his drunkenness. He has his moments, but I never got the impression that I was looking at "one of the best," but instead someone who was way out of their prime, almost a living shell of who they used to be.

The character that sticks out like a sore thumb the most in this film is the Texas Ranger LaBeouf, played by Matt Damon. I enjoy Matt Damon, but just look at that outfit. This film thrives on having a true grittiness (PUN INTENDED) in its character and production design, and then they go ahead and throw in a character played by one of the biggest modern names we have in Hollywood and they dress him up like THAT? On top of that, there's something strange in Damon's delivery, I'm not sure what it is though, maybe it's the way he speaks or what he's saying, but his character comes across of being in way over his head during everything.

If we're splitting hairs here, I really believe the main character in the film is Mattie Ross, played by Hailee Steinfeld. If you want any proof of why Steinfeld should be considered one of the best young actors out there today, look at her performance here. Mattie is so driven by the murder of her that she almost appears unstable in her conquests for revenge. There are so many times where she's like a machine or the Energizer bunny, she just doesn't stop. And while it can be unsettling, there's almost an endearing and relatable quality to it. Sure, they always tell us revenge is never the answer, but from the point of view of a child who is now down one parent and doesn't have a strong enough mother to support the family, it's understandable why she doesn't see it that way. She wants to avenge her father's death and goes to the most insane of lengths to make sure it's done correctly. The fact that she's both a woman and child is also very captivating since women and children weren't exactly the kinds of characters that were at the forefront of Western adventures.

Not only do we have star-studded heroes, but we also have a pair of strong villain performances thanks to some great character actors. First is Tom Chaney, played by Josh Brolin, who plays a slack-jawed drunken fool who really feels like an odd choice for our murderer since he doesn't seem like a crafty strategist. He's just in the wrong place at the wrong time. "Lucky" Ned Pepper, played by Barry Pepper (what a coincidence), seems more like the kind of character that our heroes should follow, but he's more underplayed than anything else, making the audience want to know more about him. Even more interesting is that the villains don't show up until the final act, so they have a short amount of time to make an impact, and by doing so, they feel like they've been part of the film since the beginning.

Still, I feel like something is missing from True Grit. While it looks amazing and there are a lot of great actors involved, it's hard to actually categorizes what works as a whole. Maybe I got desensitized by the Western month I did a while back, but nothing seemed innovative to me. The only legacy this film has is by being a remake of a classic film that didn't fall flat on its face. The debate does exist over which is better, so maybe the most meaningful aspect of the film is that it was able to at least open up a discussion.


Rating: 3.5 out of 5 stars

I know there are a lot out there that consider True Grit one of the Coen Brothers' better movies, but I don't really see it that way. I don't hate the film, but there isn't too much appeal that I see to it. It does have a strong cast and is filmed well, but it felt as though something was missing in keeping me invested. I'd say it's worth a rental for Western lovers, especially if you want to compare it with the John Wayne original.

True Grit and movie images are copyrighted by Paramount Pictures

1001 Movies You Must See Before You Die- O Brother, Where Art Thou?

#1019- O Brother, Where Art Thou? (2000)
Starring: George Clooney, John Turturro, Tim Blake Nelson
Directed by: Joel and Ethan Coen


Plot Summary: Ulysses Everett McGill, Pete Hogwallop, and Delmar O'Donnell have escaped their chain gang on a quest to recover 1.2 million dollars that Everett stole and hid before being sent to jail. The valley in which it is buried is about to be flooded for a new hydroelectric project, so they only have four days to retrieve the treasure. On the road to finding the treasure, they pick up a hitchhiking guitar player named Tommy Johnson and record the song "Man of Constant Sorrow" under the name of the Soggy Bottom Boys, with their song becoming a huge hit across the states. Everett, Pete, and Delmar also come across famous bank robber George Nelson, a trio of sirens who seduce and drug them in an attempt to collect a bounty placed on them, a one-eyed Bible salesman, the Ku Klux Klan, and Everett's wife Penny, who is now engaged to a bona fide campaign manager named Vernon T. Waldrip. Searching for the treasure is already dangerous enough with the authorities on their trail, but could it be even worse for the trio if the treasure is nothing but a hoax?


This month is not only the opportunity to experience Coen Brothers' films that I have never seen before, but also to reassess films of theirs that I haven't seen for a while. Case in point with O Brother, Where Art Thou?, a film that I have been familiar with since my early teen years and can be cited as my first experience with the Coen Brothers. While I really enjoyed the film when I was younger, I have grown an even deeper appreciation for this film even more as an adult. Per the usual Coen Brothers' fashion, this film has a large cast of characters, including many frequently used actors in other Coen Brothers' projects, but also features an iconic soundtrack and is even partially adapted from one of the most famed works of epic poetry of all-time.

George Clooney stars as Ulysses Everett McGill, the brains and mouth of the trio. While he might be an escaped convict, he is very eloquent in his vocabulary and is the one who always has a plan. Credit must go to Clooney for making the character so charismatic and entertaining. Everett is constantly obsessing over his hair and there's something about that that Clooney pulls off very well, perhaps thanks to his Hollywood good looks yet playing a scheming prisoner. Everett does have his flaws, such as insulting his friends and mocking faith, but Clooney is still able to make Everett likable. And of course, Everett's shining moment is as the lead singer for when he and his friends become The Soggy Bottom Boys (love that name), but I'll discuss the music more towards the end. Is this one of Clooney's most memorable roles? To some yes, but for many probably not, but his presence as the leading man in this film is certainly appreciated, and he has since become a recurring actor in many of the Coen Brothers' most contemporary works.

Everett escapes his chain gang with the help of Pete Hogwallop, played by John Turturro, and Delmar O'Donnell, played by Tim Blake Nelson. Pete is the more outspoken and impulsive of the group, but there's a charm given to him by his loyalty for his friends and family. There's a scene where Everett steals from Pete's cousin, who has also tried turning them over to the authorities for a bounty. Even though he was betrayed by family, Pete still has the need to defend his cousin and admonishes Everett for his theft. It goes to show that even moronic and criminal characters can have ethics and morals that make them much more complex than we initially imagine. Delmar is dumb through and through, but loyal and with a heart of gold. One of the recurring gags with the character is that he will repeat his lines throughout a scene, either because he's being ignored or if the situation calls for a repeated response. He reminds me a lot of Donny from The Big Lebowski in his dynamic within the trio. Delmar is certainly lovable for his simple nature and is even told that he does not say a lot, but when he does it's to the point. If the Coen Brothers have taught us this month it's that they can make simplicity go a long way.

It's become the usual to be fascinated by many of the Coen Brothers' side characters in their films, and this film is no exception. Among them are Tommy Johnson, played by Chris Thomas King, a black (YES, the racism DOES matter in this film, so don't take it out on me in the comments) guitarist who helps form The Soggy Bottom Boys, Everett's estranged wife Penny, played by Holly Hunter, who keeps telling their daughters that Everett was hit by a train (despite the fact that he is standing right in front of them alive and well), Pappy O'Daniel, the short tempered incumbent governor of Mississippi played by Charles Durning, his opponent in the upcoming election Homer Stokes, played by Wayne Duvall, and Sheriff Cooley, played by Daniel von Bargen, whose appearance resembles a description of the devil that Tommy brings up in his introduction scene. But my favorite side character is Big Dan Teague, a one-eyed man played by John Goodman who is pretending to be a Bible salesman. While it's great seeing Goodman in another Coen Brothers' film, I wish they had used him more, but his short screen time does leave a lasting impression on the film as a whole.

One facet of the film that fans find the most memorable is the folk and bluegrass inspired soundtrack. In many ways, the soundtrack proved to be more popular than the film upon its release. The true highlight of the soundtrack is "Man of Constant Sorrow" performed mainly by Dan Tyminski (sorry to disappoint all who thought it was really Clooney singing). Let me tell you something, it is quite an accomplishment to have a song stay consistently stuck in my head over the years and that's what "Man of Constant Sorrow" does. Just getting ready to re-watch the film, I was listening to it, my ears pricked up whenever it appeared in the film, and I even listened to it while writing this review. It's so catchy and was always the thing I associated with the film (that's right, this song outshined Clooney). So be forewarned, if you watch O Brother, Where Art Thou?, be prepared to have "Man of Constant Sorrow" stuck in your head for a long time.

Unless you paid attention to the opening credits, you may be unaware that the film is loosely adapted from Homer's Odyssey. But once you've looked at it...yeah, they do encounter sirens, a cyclops, wearing disguises, certain character names, and even a prophecy is told in the film's beginning. I often feel like this is a cherry atop the film's narrative. It's nice that it has a source material, but even if you didn't notice and make all the connections, the film is still great fun on its own. O Brother, Where Art Thou? should be remembered as one of the Coen Brothers' most monumental films because it is a modern retelling of one of the great epics of Ancient Greece, but does so in a way that may be unnoticeable to some and may appear as an equally strong contemporary epic set during the Great Depression.


Rating: 4.5 out of 5 stars

O Brother, Where Art Thou? is definitely one of the Coen Brothers' most underrated works. The performances of main cast help carry a slower paced narrative, the dialogue is witty, and the film's folk soundtrack provides authentic and catchy musical accompaniment. I recommend everyone check it out at least once, and if you love the Coen Brothers and George Clooney, this one should definitely be in your collection.

O Brother, Where Art Thou? and movie images are copyrighted by Touchstone Pictures & Universal Pictures

1001 Movies You Must See Before You Die- The Big Lebowski

#985- The Big Lebowski (1998)
Starring: Jeff Bridges, John Goodman, Steve Buscemi
Directed by: Joel Coen


Plot Summary: Jeff Lebowski, otherwise known as the Dude, arrives home and is attacked by two thugs demanding money that is owed to Jackie Treehorn. After one of the thugs urinates on the Dude's rug, they realize that they have attacked the wrong Lebowski. The Dude goes bowling with his friends Donny and Walter and is convinced to go demand the other Jeffrey Lebowski, a crotchety millionaire, pay for him to get a new rug because it "tied the room together." Lebowski, acknowledging the Dude's slacker appearance, insults him and denies his request. When Lebowski's wife Bunny is kidnapped, he relies on the Dude to be the courier in order to hand over the ransom to get her back. When other parties start showing up to speak to the Dude, questions arise on whether or not Bunny was even kidnapped by someone, and when the Dude's car is stolen with the money inside, he must find a way to get the ransom back before Lebowski, the kidnappers, and anyone else involved comes after him.


When I started this month, there was really one goal in mind: to FINALLY see The Big Lebowski and figure out what all the fuss is about. This makes so many lists, including top comedies, most quotable movies, and is considered one of the best films from the Coen Brothers. Keep in mind that all of this has developed years after the film was released. When it first came out, The Big Lebowski was met with mixed reviews and did poorly at the box office. But since its release, it has gained a cult following and the Dude has become one of the biggest pop culture icons of the '90s. So, there was a lot of hype going into this one and I was nervous that, like Fargo, it wouldn't live up to my expectations. Miraculously, The Big Lebowski exceeded all expectations I had, kept me laughing, and became an instant favorite. So what is all the fuss about? Well, like many of the films from the Coen Brothers, the plot is not what fascinates the audience, but rather the characters and The Big Lebowski has its fair share of the memorable and the bizarre.

Jeff Bridges delivers one of the most iconic roles of his career as Jeff "the Dude" Lebowski. Bridges does such an amazing job at playing such a carefree character that you don't see an actor, you see a guy that you could be friends with. Perhaps that's what's so identifiable with the Dude, is that he is a universal type of character but is performed with such expertise that he's the quintessential bum. He could literally be THE dude. There's also so many things you can dissect about the Dude, from what he drinks, to his hobbies, to how he interacts with his friends, to the fact that one of the things he values most in the world is his floor rug (it tied the room together). He might have other important roles (one of which I'll talk about in a little bit), but the Dude might be the one Jeff Bridges is known for the remainder of his career because of the Dude's appeal to our inner slackers.

The Dude is a member of an iconic movie trio and one of the most legendary bowling teams ever assembled. Donny, played by Steve Buscemi, is the more quiet and reserved member of the group and is a perfect foil for the Dude and Walter, played by John Goodman. Walter is my favorite character of the entire film because of how outrageous and outspoken he can be. Nearly every scene he's in involves a conversation of how whipped he is by his ex-wife, his Jewish "faith," and the Vietnam War and it's incredible. One moment he can be trying to be politically correct by telling the Dude to refer to a "Chinaman" as an Asian American (he even uses the word nomenclature), the next moment he can pull out a loaded firearm over a controversial bowling call because it's a league game. Walter is an incredible film and proof why I love John Goodman so much. He and the Coen Brothers are a great mix.

The Dude isn't the only Lebowski in this film, but these Lebowskis are of no relation to the Dude. The first is the OTHER Jeffrey Lebowski (otherwise known as the titular "big" Lebowski), played by David Huddleston. Either Huddleston or the Coen Brothers must've been inspired by Lionel Barrymore because I'm convinced Lebowski is a modern day version of Mr. Potter from It's a Wonderful Life. Lebowski and his wife Bunny, played by Tara Reid, don't do a whole lot in the film, nor do they appear on screen very long. However, the two have a presence all over the plot because of the mystery of the ransom, which goes to show that you don't need a lot of screen time to make in impact in a story. Jeffrey's daughter Maude, played by Julianne Moore, is one of the film's most eccentric characters thanks to some of her hobbies and friends, along with the way she speaks and her peculiar attachment to the Dude.

The film also has a lot of memorable side characters that give that extra something to strengthen how strange the film can be. One of my favorites is Brandt, Mr. Lebowski's personal assistant played by the late Philip Seymour Hoffman. Brandt acts as a mediator between the two Lebowskis and his constant attempts to maintain order and pleasantness in the most screwed up of situations is absolutely hilarious and makes me miss Hoffman even more so because of his range of talent. The Stranger, played by Sam Elliott serves as the narrator of the film. I think more films should be narrated by Sam Elliott. Why? Because he has an awesome voice that's why. You ever hear the commercials he narrates? He has a very distinct voice meant for telling a legendary story like this one. And the final character (who does very little, but people love him) is Jesus Quintana, played by John Turturro. Some might think Jesus as just a cocky bowler who bugs the Dude, Walter, and Donny but he has so many distinct mannerisms and quips that he's a bit of an enigma. He's only in about two or three scenes and he makes an impact as one of the most memorable characters in the whole film.

The Big Lebowski could very well go down as the most popular Coen Brothers film. Here's an instance where their simplicity works in that they have channeled it all in one character (the Dude), and has created such a carefree individual and put him in a convoluted and complex conflict complete with a collection of the most colorful characters you'll ever see (alliteration for the win). This could very well be a Seinfeld-like movie, where in theory it's about "nothing," but can be a lot deeper if you dig deep. Maybe we should all be like the Dude and wear flip flops and bathrobes, enjoy a nice White Russian (drink responsibly), go bowling with our buddies, and live in a world carefree looking for a nice rug that ties the room together. In a world like that, we could all abide like the Dude. But there I go rambling...


Rating: 5 out of 5 stars

The Big Lebowski kept me fascinated the entire film. Within every scene I was able to dissect the situation and figure out why every joke was able to work. I'm only able to do that with a handful of comedies, so that must account for something. If you enjoy comedies, add this one to your collection because it's one of the most quotable comedies in history.

The Big Lebowski and movie images are copyrighted by Universal Pictures

1001 Movies You Must See Before You Die- Fargo

#944- Fargo (1996)
Starring: Frances McDormand, William H. Macy, Steve Buscemi
Directed by: Joel Coen


Plot Summary: Jerry Lundegaard is desperate for money, to the point where he hires two hitmen to kidnap his own wife and hold her for a ransom of $80,000 to be paid by Jerry's wealthy father-in-law, Wade Gustafson. In reality, Jerry is planning on asking Wade for more ransom money and keeping most of it for himself. The two criminals, Carl Showalter and Gaear Grimsrud, succeed in kidnapping Jerry's wife Jean, and as they are driving away with her in the backseat, they are pulled over by a state trooper. They're pulled over for not having proper tags on their getaway car, which was supplied by Jerry. Carl tries to bribe the trooper to let them pass without giving them for a ticket, but Gaear becomes impatient and shoots the trooper in the head. When a couple passes by the crime scene, Gaear chases them down and kills both of them, eliminating all witnesses. The next morning local police Chief Marge Gunderson is called in to investigate the homicides and she begins a mission to track down the murderers without even knowing that these are the same two men that kidnapped Jean Lundegaard.


Remember what I was saying during my Raising Arizona review of how simplicity can be splendid? Well, I still believe it can be, but only for a short while. As one of their earlier projects, Raising Arizona really helped establish Joel and Ethan Coen and it was up to them as filmmakers to continue to thrive and become more ambitious as their film careers progressed. You wouldn't expect directors like Quentin Tarantino or Steven Spielberg to keep making as many movies as they do if they kept the tone and ambition they had in their earliest projects. They have to keep elevating their game and evolving in the realm of making movies. Why do I bring this up with the Coen Brothers? When it was time for me to watch Fargo, I knew going into it that it was one of their most famous and well received movies. But by the time it was over, I was wishing they had not relied on simplicity to create comedy and told something more complex to keep me interested.

The main protagonist is local police Chief Marge Gunderson, played by Frances McDormand. Of all the Coen Brothers' films, Marge is usually considered one of the most memorable and I'd be lying if I said I couldn't see why. While polite, Marge has a great, fast acting mind for criminal psychology, and gets so much work done on her own, moving way ahead of some of her lesser minded colleagues. She is a very ambitious police chief and a very strong, independent, female character which is definitely refreshing to see in the world of crime thrillers. Her interactions with her husband Norm, played by John Carroll Lynch, are very adorable and they have a great dynamic as a couple. In an interesting turn of events, Norm is more of a traditional stay at home "wife" type character, while Marge is out in the field doing police work. Not even a female event like being pregnant can slow Marge down. That's right. Marge is able to do all that she does while PREGNANT. Is there anything Marge can't do? She's like Fargo's version of a superhero.

Fargo is also full of fascinating side characters, including Jerry Lundegaard, played by William H. Macy. Jerry is the epitome of a doormat and nearly every character gets the opportunity to walk all over him. The worst part of it comes whenever he has an idea and people want to take the idea from him and make it their own (better) idea. Even if this make's Jerry's blood boil, he's too darn polite to actually make a fuss about it. William H. Macy I always think is a great character actor and he does a great deal with what he's been given with Jerry. You definitely feel sorry for the guy in most cases and wish he could grow a spine and become his own man. But if he did that, it wouldn't nearly be as funny to watch the same formula happen to him with different characters.

There are really only two characters who feel at home in this crime thriller, and that's Carl Showalter, played by Steve Buscemi, and Gaear Grimsrud, played by Peter Stormare. The two may come off at first as numbskulls, but they take their jobs very seriously and try to carry out as much professionalism as possible, while still maintaining some fun along the way. The two have another interesting dynamic because Gaear barely speaks and Carl never shuts up. Buscemi really has an opportunity to shine by playing...well, Steve Buscemi (and that's absolutely fine with me....because Steve Buscemi is awesome). While audiences are used to Buscemi's rat-type character, Gaear has an equal opportunity to make an impression because of how opposite he is. He's quiet, but not dumb. He's very cold and calculating, only speaks when he needs to and has a thirst for blood and not caring who you are. If Gaear finds you to be a threat to him completing his job, he will not hesitate to kill you and that's actually pretty terrifying. Mix that with Carl as a weasely mouthpiece, and you have a very deadly combination that leaves an indelible imprint on the film's plot.

I'm not sure if I'm a minority on this, but I found by the end of Fargo that I wasn't sure where all the appeal was. Don't get me wrong, I absolutely loved the acting performances from the main characters, but what I don't see the appeal in is the dark comedy aspect of the film, which mainly stems within the setting of Fargo, North Dakota. I understand that much of the dark humor is within the concept that many of these characters are too polite and courteous to be your generic crime thriller characters. Here's what I got from the humor: it's cold where they're at, most of them are too polite, they speak in a "funny" accent and say repeat phrases like "Oh yeah" and "Ah jeez," and that's about it. Are people from Fargo offended by this movie or do they find it an accurate depiction? Anyone from Fargo, please let me know in the comments because that was the biggest question I had while watching this overhyped and I dare say "average" film.


Rating: 3 out of 5 stars

Maybe I was expecting too much from Fargo due to hype as one of the Coen Brothers' bigger films, but something left me immensely underwhelmed. For me, the accent jokes and politeness can only go so far before I get bored, but there are still some good acting performances and a gritty crime thriller on display, so it's worth a watch at least once to see if the dark humor makes or breaks the film for you.

Fargo and movie images are copyrighted by Metro-Goldwyn-Mayer

1001 Movies You Must See Before You Die- Raising Arizona

#786- Raising Arizona (1987)
Starring: Nicolas Cage, Holly Hunter, John Goodman
Directed by: Joel Coen


Plot Summary: Herbert I. McDunnough is a criminal that falls in love with a policewoman named Edwina, or Ed for short, and the two get married with the intention of starting a family of their own. After finding out that Ed is barren, they hatch a plan to steal one of the "Arizona Quints," quintuplets born from the famous furniture store owner Nathan Arizona. H.I. and Ed break in and steal one of Nathan's sons, Nathan Jr., and begin to raise him as their own son. When some of H.I.'s friends from prison break out and stay with them, they decide to let H.I. in on a plan to rob a bank. Conflicted with his new family life, H.I. must make a difficult decision on whether or not he should return to his criminal ways. Problems arise for H.I. and Ed when H.I.'s friends realize who Nathan Jr. really is and they steal him for a ransom. And an even bigger problem is on its way in the form of a massive, motorcycle riding bounty hunter named Leonard Smalls.


For over a year, I have tried covering months of different movie genres, but I have never attempted to look at different genres of movies that are made by the same filmmakers. To experiment with this, there are tons of directors you could go with, like Steven Spielberg, Stanley Kubrick, or Quentin Tarantino, but I decided to go with Joel and Ethan Coen, two brother that have been entertaining moviegoers for over two decades now. One of my first reviews on here was for arguably their greatest film, No Country for Old Men, but I was more or less looking at it based on how I felt in comparison to the book. Now, I have an opportunity to look at 6 of their greatest films and see what aspects of their direction and writing appear in each film. To start off Coen Brothers month, let's look at one of their earliest successes: Raising Arizona. I had heard the general plot before about how a couple played by Nicolas Cage and Holly Hunter steal a baby, but that's all I knew. Already I'm promised pure joy by watching a Nicolas Cage film, but then add the fact that John Goodman, one of my favorite comedic character actors (and from what I can see, a frequent actor in the Coen Brothers films), is in this film too and I was sold on watching it.

The two main characters in Raising Arizona are Herbert I. "H.I." and Edwina "Ed" McDunnough, played by Nicolas Cage and Holly Hunter. Already, thanks to their names, these two are memorable characters. The Audience can remember their names because it's a man named "Hi" and a woman named "Ed," names that are not exactly considered conventional. You're able to see the love these two have for each other, even when they're squabbling. Love and marriage is no picnic and H.I. and Ed prove that. I think what's great about these two is that they don't have cruel intentions in mind when they steal Nathan Jr., and while they are committing a felony, they (for the longest time) are guilt free because they felt they were doing the right thing. An acting performance from Nicolas Cage is a highlight in any film he's in and watching him as H.I. is no exception. Just look at that hair and hear how he speaks, you're sure to be entertained throughout the whole movie.

Two side characters that steal the scenes from H.I. and Ed are Gale and Evelle Snoats, played by John Goodman and William Forsythe. While Evelle has a few good one-liners and is the more innocent of the duo, it's Goodman's portrayal of Gale that makes the biggest impression. Gale is a bit of a numbskull by trade, but also walks and speaks with a sense of business savvy, so even if he has a plan, it's still being devised by a pair of idiot brothers. Their greatest moment in the film is their escape from prison that for some reason requires both of them to be screaming the entire time. There's something so hysterical about how these two should NOT be successful at busting out of jail because of how much noise they're making and the fact that they are never caught and keep low key for most of the film that makes it even more funny.

One of the film's most memorable characters is the bounty hunter Leonard Smalls, played by Randall "Tex" Cobb. Cobb gives Leonard a surprisingly extensive vocabulary and diction, not something you would expect from a man Leonard's size. Add just how stereotypically BA (you know what that means) he is, and you have quite the intimidating force. His motorcycle riding is beyond ridiculous, following characters up ladders and through buildings, and a good chunk of the films pyrotechnics are used through the amount of force and power that a man like Leonard exudes. Not much is known about Leonard (except his friends call him Lenny, but he has no friends), and it's the mystery mixed with his intensity that makes him really stand out amongst the already great cast of characters.

Despite little experience with the Coen Brothers, I do know that a good chunk of their comedies are considered "dark comedies." Raising Arizona goes all out in delivering slapstick and punchlines that are comedy in its purest form and is anything but subtle. A lot of the comedy is within each of the characters (as I cited some of their best scenes above), but the best scene happens in the middle of the film, when H.I. regresses and robs a convenience store while buying some Huggies. Naturally, Ed sees this, gets upset and drives away. What ensues is a marvelously hilarious chase scene involving guns, car chases, dogs, a supermarket, and Nicolas Cage running around with a "panty" on his head. It's through the bizarre and over the top delivery that creates a fantastical element of comedy that allows the comedy in Raising Arizona to stand out amongst the Coen Brothers usual brand of dark comedy.


Rating: 4 out of 5 stars

Since I'm not all too familiar with the Coen Brothers, I think Raising Arizona served as a great starting point. The directors have certainly had more ambitious projects over time (which I am sure to find out throughout the month), but this film shows that simplicity can be rather splendid for the viewer. If you're in the mood for a good laugh, I strongly suggest adding this to your collection.

Raising Arizona and movie images are copyrighted by 20th Century Fox