Category Archives: Coen Brothers

#66 Favorite Film, 1996 Films, Best Feature- Independent Spirit Award Winners, Coen Brothers, Comedy, Dark Comedy, Drama, Favorite Film of the Year, Frances McDormand, Harve Presnell, Independent, Independent Drama, John Carroll Lynch, José Feliciano, Peter Stormare, Steve Buscemi, Top 100 Films, Top 250 Films, William H. Macy

Fargo-1996

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Fargo-1996

Director Joel Coen and Ethan Coen

Starring Frances McDormand, William H. Macy

Top 250 Films #66

Scott’s Review #366

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Reviewed January 9, 2016

Grade: A

Fargo (1996) is a treasure as far as I’m concerned, and the role that deservedly propelled Frances McDormand to the forefront of the film audience’s minds, not to mention a gold statue for Best Actress.

The film epitomizes dark humor and zany freshness during a time in cinema when originality was emerging, and independent films were gaining popularity.

Fargo led the pack.

The film suffers from derision from locals in and around the upper Midwest U.S.A. for its depiction of accents — perhaps overdone, but hysterical all the same.

Set against snowy, icy locales, the film effectively conveys a harsh, small-town atmosphere.

The introduction of a crime, initially done innocently, escalates out of control.

Fargo is a part caper, part thriller, and part adventure, and is a layered, cool film.

The fact that it’s 1987 is excellent. The cars, the Oldsmobile dealership, all work particularly well.

McDormand plays a local Police Chief, Marge Gunderson, who is very pregnant and stumbles upon the crime, slowly unraveling the mystery.

All the while, the character keeps her cool, cracks jokes, and delivers witty one-liners after another, presenting a slightly dim-witted image but brilliantly deducing aspects of the crime.

William H. Macy, largely unknown in 1996, is perfectly cast as a car salesman, Jerry Lundegaard.

Nervous and shaky, yet with down-home respectability, he hatches a plot to have his wife kidnapped, the ransom to be paid by her wealthy father, enabling Jerry to pay off an enormous embezzling debt, and splitting the money with the kidnappers.

Predictably, things go awry and spiral out of control.

I love how the film crosses genres and is tough to label- is it a crime drama, a thriller, or a comedy? A bit of each, which is the brilliance of it.

Fargo (1996) is an odd little piece of art and is remembered as one of the best films of the 1990s, making Frances McDormand a star.

Oscar Nominations: 2 wins-Best Picture, Best Director- Joel Coen, Best Actress- Frances McDormand (won), Best Supporting Actor- William H. Macy, Best Screenplay Written Directly for the Screen (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director- Joel Coen (won), Best Male Lead- William H. Macy (won), Best Female Lead- Frances McDormand (won), Best Screenplay (won), Best Cinematography (won)

1987 Films, Coen Brothers, Comedy, Dark Comedy, Frances McDormand, Holly Hunter, John Goodman, M. Emmet Walsh, Nicolas Cage

Raising Arizona-1987

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Raising Arizona-1987

Director Joel Coen

Starring Nicholas Cage, Holly Hunter

Scott’s Review #1,286

Reviewed August 5, 2022

Grade: B+

Raising Arizona (1987) is the second film to be created by the Coen brothers (Joel and Ethan) with the independent offering, Blood Simple (1984) being the first.

The siblings would later become household names and trailblazers in the world of cinema.

It’s rough around the edges storytelling with the severe desire to create something different. Maybe too different since sometimes Raising Arizona works and sometimes it doesn’t.

The film is to be championed mostly for its creativity though it’s not on par at all with the Coen brothers’ best films, Fargo (1996) and No Country for Old Men (2007). However, it does serve as a blueprint for films to come, if one is to look at it in hindsight.

I’m not the biggest Nicholas Cage fan of all time so it doesn’t help that he stars in Raising Arizona. The actor was achieving enormous recognition the same year for his appearance in Moonstruck (1987) which won Cher the Best Actress Oscar.

The film mostly gets props for its original writing and quirkiness in the sets and visual effects, but the comedy is way out in the left field and difficult to make sense of.

As with many Coen Brothers films, the plot centers on a crime and people on the run desperately trying to evade capture.

Hi McDunnough (Cage) is a convenience store robber who meets and falls in love with an ex-cop named Edwina “Ed” (Holly Hunter) during a stint in prison. After they move to a mobile home in the middle of the desert they decide to kidnap a baby since they cannot have one of their own.

While keeping their secret, friends, co-workers, and a bounty hunter look to use the child for their purposes.

The setting works quite well and is an important part of the film like other Coen offerings. The blazing hot desert is a familiar sight and pivotal to the story events with sizzling highways and roadside dives a focal point throughout. Hi and Ed’s tacky mobile home is dusty and cracked which enhances the extreme heat.

Cage and Hunter have tremendous chemistry which kept me invested in their characters. Both quirky-looking, they act well against each other and invoke sympathy from the audience- at least I did. Despite being kidnappers, they have the best of intentions of keeping their stolen baby safe and cared for.

Delightful to see is actress Frances McDormand in an early role as Dot. She would become a frequent star and collaborator in later Coen Brothers films.

Forgetting the uneven storytelling for a minute, Raising Arizona’s finest moment comes at the very end. Through a series of prophetic dreams about the future, the fates of all the characters are determined.

It’s a trippy and magnificent sequence and quite well-known to fans.

A clever offering that at times spins out of control with ridiculousness, Raising Arizona (1987) is nonetheless recommended to view and absorb the zany characters that the Coen Brothers are famous for creating.

2007 Films, Best Picture Oscar Winners, Caleb Landry Jones, Coen Brothers, Crime Thriller, Drama, Javier Bardem, Josh Brolin, Kelly Macdonald, Stephen Root, Thriller, Tommy Lee Jones, Woody Harrelson

No Country for Old Men-2007

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No Country for Old Men-2007

Director Ethan Coen, Joel Coen

Starring Tommy Lee Jones, Javier Bardem, Josh Brolin

Scott’s Review #745

Reviewed April 19, 2018

Grade: A

No Country for Old Men, made in 2007,  is arguably Joel and Ethan Coen’s greatest work save for the amazing Fargo (1996).

Achieving the Best Picture Academy Award and appearing on numerous Top Ten lists for its year of release, the film is one of their most celebrated.

Containing dark humor, offbeat characters, and fantastic storytelling, adding in some of the most gorgeous cinematography in film history, No Country for Old Men is one of the decade’s great films.

The time is 1980 and set in western Texas as we follow dangerous hitman, Anton Chigurh, played wonderfully by Javier Bardem.

He escapes jail by strangling a deputy and is subsequently hired to find Llewelyn Moss (Josh Brolin), a hunter who has accidentally stumbled onto two million dollars in a suitcase that Mexican smugglers are desperate to find.

In the mix is Sheriff Tom Bell (Tommy Lee Jones), who is pursuing both men. Moss’s wife, Carla Jean (Kelly Macdonald) in turn becomes an important character as she is instrumental in the web of deceit the chain of events creates.

The film subsequently turns into an exciting cat-and-mouse chase with a dramatic climax.

The crux of the story and its plethora of possibilities is what makes the events so exciting to watch. As characters are in constant pursuit of each other the viewer wonders who will catch up to whom and when.

One quality that makes the film unique with an identity all its own is that the three principal characters (Moss, Bell, and Chigurh) seldom appear in the same scene adding a layer of mystery and intrigue.

The hero and most well-liked of all the characters is, of course, Sheriff Bell- a proponent of honesty and truth while the other two characters are less than savory types, especially the despicable Chigurh.

My favorite character in the story is Chigurh as he is the most interesting and Bardem plays him to the hilt with a calm malevolence- anger just bubbling under the surface.

One wonders when he will strike next or if he will spare a life- as he intimidates his prey by offering to play a game of chance- the toss of a coin to determine life or death- he is one of cinema’s most vicious villains. With his bob-cut hairstyle and his sunken brown eyes, he is a force to be reckoned with by looks alone.

True to many other Ethan and Joel Coen films the supporting or even the glorified extras are perfectly cast and filled with interesting quirkiness.

Examples of this are the kindly gas station owner who successfully guesses a coin toss correctly and is spared his life. My favorite is the matter-of-fact woman at the hotel front desk, with her permed hair, she gives as good as she gets, and her monotone voice is great.

It is these smaller intricacies that truly make No Country for Old Men shine and are a staple of Coen Brother films in general.

Many similarities abound between Fargo and No Country for Old Men, not the least of which is the main protagonist being an older and wiser police chief (Marge Gunderson and Tom Bell, respectively).

Add to this a series of brutal murders and the protagonist being from elsewhere and stumbling upon a small, bleak town. Of course, the extreme violence depicted in both must be mentioned as comparable.

Having shamefully only seen this epic thriller two times, No Country for Old Men (2007) is a dynamic film, reminiscent of the best of Sam Peckinpah classics such as The Getaway (1972) or The Wild Bunch (1967).

The Coen brothers cross film genres to include thriller, western, and suspense that would rival the greatest in Hitchcock films.

I cannot wait to see it again.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Joel and Ethan Coen (won), Best Supporting Actor-Javier Bardem (won), Best Adapted Screenplay (won), Best Sound Editing, Best Sound Mixing, Best Cinematography, Best Film Editing

2009 Films, Adam Arkin, Amy Landecker, Coen Brothers, Comedy, Dark Comedy, Independent, Independent Comedy, Michael Stuhlbarg, Richard Kind, Simon Helberg

A Serious Man-2009

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A Serious Man-2009

Director Joel Coen, Ethan Coen

Starring Michael Stuhlbarg

Scott’s Review #582

Reviewed January 4, 2017

Grade: B

A Serious Man (2009) is a quirky, odd film that is a character study.

Directed by the Coen brothers who typically have an offbeat style to their films (No Country For Old Men-2007, and Fargo-1996 spring to mind), A Serious Man is no different, offering wonderful, richly written supporting characters.

The film, however, lacks the violence of other Coen Brothers films, instead, adding more humorous situations and an overall comical premise.

It tells the story of a Jewish Professor, Larry Gopnik (Michael Stuhlbarg), living in the 1960s, and has a string of bad luck. People close to Larry begin to drop dead all around him and he seems cursed with a string of bad luck.

The film centers around how he deals with crisis after crisis.

The first half of the film admittedly drags a bit, but the second part picks up nicely. The plot suddenly comes to a head rather quickly.

To stress, A Serious Man is a witty, dark comedy, so much of the dialogue is either tongue-in-cheek or dry.

The rabbis that Larry meets, combined with his son Danny and wife Judith are very funny and well-carved-out characters, many certain “types”.

The character of Larry also contained elements of the Larry David character on TV’s Curb Your Enthusiasm.

Also, for those cinema lovers who pay close attention to or have an appreciation for good set design, the film captures the 1960’s style (dress, furniture, cars), perfectly.

Oscar Nominations: Best Picture, Best Original Screenplay

Independent Spirit Award Nominations: 2 wins-Best Director-Joel and Ethan Coen, Best Cinematography (won), Robert Altman Award (won)

2010 Films, Coen Brothers, Domhnall Gleeson, J.K. Simmons, Jeff Bridges, Josh Brolin, Matt Damon, Western

True Grit-2010

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True Grit-2010

Director Ethan Coen, Joel Coen

Starring Jeff Bridges, Matt Damon, Josh Brolin

Scott’s Review #525

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Reviewed November 24, 2016

Grade: A-

Having not seen the original, 1969 version of True Grit,  starring John Wayne,  I cannot compare the two, but the remake in 2010  is excellent.

I do not profess to be the greatest fan of the western genre as the stereotypes are usually peppered throughout and the good versus bad cliches done to death, but True Grit is a different, contemporary western.

Fantastic looking with numerous big, current stars, humor, and quirkiness.

True Grit is a mainstream (in camera and style) Hollywood Western (the Coen Bros. usually are more gritty in their stories), but a well-made one.

The odd supporting characters make this film fantastic and there is an edge to it that enamored me. The film also contains some Quentin Tarantino elements making it left of center in some ways.

It tells the story of a tomboy-like fourteen-year-old girl, Mattie Ross (Hailee Steinfeld), also the narrator of the film, who hires an aging U.S. Marshal to avenge her father’s death.

The story is well told, and the cinematography and attention to detail are great, giving off a crisp feel of really being in the Wild West.

Oscar Nominations: Best Picture, Best Director-Ethan Coen and Joel Coen, Best Actor-Jeff Bridges, Best Supporting Actress-Hailee Steinfeld, Best Adapted Screenplay, Best Sound Editing, Best Sound Mixing, Best Art Direction, Best Cinematography, Best Costume Design

2015 Films, Alan Alda, Amy Ryan, Billy Magnussen, Brian Hutchison, Coen Brothers, Drama, Historical Drama, Jesse Plemons, Mark Rylance, Noah Schnapp, Peter McRobbie, Sebastian Koch, Steven Spielberg, Tom Hanks

Bridge of Spies-2015

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Bridge of Spies-2015

Director Steven Spielberg

Starring Tom Hanks, Mark Rylance

Scott’s Review #399

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Reviewed April 28, 2016

Grade: B+

Tom Hanks teams with Stephen Spielberg once again in another A-list Hollywood film.

Like Saving Private Ryan (1998), Bridge of Spies (2015) is in the historical vein. This time, the Cold War is featured; the film begins in 1957.

The camera work, the artwork, and the set decorations are second to none as the film looks and feels authentic.

As interesting as the overall result is—it felt like I was watching a well-made film—there was also something missing, which did not make it truly riveting, and that is why it received a B+ rating.

With Spielberg and Hanks on board, one will get a quality film.

Hanks portrays James B. Donovan, a Brooklyn attorney specializing in insurance law, but a wiz at negotiation and experienced with the Nuremberg trials.

He is assigned to defend suspected spy Rudolf Abel (Mark Rylance) in what is assumed to be an open-and-shut case, his guilt is considered a given.

Abel has been arrested by the FBI and is thought to be a Russian spy. They are willing to release him on the condition that he reveal Soviet contacts, but he refuses.

Meanwhile, an American pilot, Frances Powers, is captured in Soviet territory and taken hostage. To make matters more complicated, an American graduate student, Pryor, is trapped behind the Berlin Wall in East Germany and not allowed by the Germans to leave.

The pressure is on Donovan to defend Abel in the United States but to make a deal to return the three men to their respective countries.

Hanks, a great actor, is his typical stoic, capable self, and his portrayal reminds me of his role in Captain Phillips (2013), calm, well-mannered- a clear yet quiet leader.

The role is not flashy compared to other legendary Hanks roles (Forrest Gump-1994, Philadelphia-1993). The film centers around Hanks and caters to his acting style. His character is always at the forefront.

Hanks never gives a bad performance and I admire him in almost anything.

Let’s discuss the role and the portrayal by Mark Rylance in his Oscar-winning role.

Giving a very subdued, nuanced performance, he is good and low-key in what could have been an energetic, over-the-top performance if written that way, but I am not sure I would have handed him the golden statuette over a few of the other nominees in the 2015 Supporting Actor category.

This isn’t a criticism, but I am unsure if he warrants an Academy Award.

Bridge of Spies is very detail-oriented and every set piece- from late 1950s cars, clothing, hairstyles, and home furnishings is spot on.

The film was expensive to produce and no expense seems to have been spared.

The film travels from Brooklyn to the Soviet Union, to Germany, and gives off a patriotic, Americana flare, which is true to life in the given time. There was such a sense of country and community.

Nothing makes this more apparent than the distasteful glares coldness and hatred displayed by many characters towards Donovan.

To counteract this, when Donovan is ultimately more the hero, he is revered and celebrated.

As great as the film looks, there is something slightly disconnecting about it. I was left wanting more from a story perspective and feeling slightly disengaged throughout parts of it. I was never riveted or blown away despite realizing I was watching a well-made film.

This can happen if the story is less compelling than the way the film looks as with Bridge of Spies.

After I finished watching I felt that I did not need to see the film again, in contrast to truly great films where one can watch over again.

A slight mention is that Bridge of Spies is a “guy’s film”. Amy Ryan, a great actress, does all she can with the only real female role in the film in that of Donovan’s dutiful, supportive wife, a role written one-dimensionally hundreds of times.

It is a shame her character is not fleshed out. The typical worried scenes or fretting for her husband to return home to his family are purely reactionary and do not further the plot.

In this sense, the film deserves criticism for being too traditional.

Bridge of Spies is a good effort but not a tremendous film. It is the type of film I liked but did not love.

Perhaps, the names Spielberg and Hanks on the marquee had me expecting more.

Oscar Nominations: 1 win-Best Picture, Best Supporting Actor-Mark Rylance (won), Best Original Screenplay, Best Original Score, Best Sound Mixing, Best Production Design

1990 Films, Albert Finney, Coen Brothers, Crime Drama, Frances McDormand, Gabriel Byrne, Gregory Jacobs, John Turturro, Marcia Gay Harden, Mob, Sam Raimi, Steve Buscemi

Miller’s Crossing-1990

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Miller’s Crossing-1990

Director Joel Coen

Starring Ethan Coen, Gabriel Byrne

Scott’s Review #394

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Reviewed April 13, 2016

Grade: B+

Containing a mixture of The Godfather Part III, Goodfellas, and The Grifters- ironically all released in 1990- Miller’s Crossing is an old-fashioned gangster film made fresh thanks to the direction of Joel Coen.

He brings a quirky edge to the film, throwing in a blend of film noir, black humor, and edgy characters, that make the film storyline feel fresh and alive in the present.

It has a definite late 1980’s era cinematic look (not a compliment).

I could immediately tell which decade it was made. Miller’s Crossing begins slowly, but during the second act gains steam and is the best part of the film.

The film is set somewhere in New York during the 1920s Prohibition period- it is assumed New York City, but this is never stated.

The general story involves Tom Reagan, a handsome Irish gangster, and right-hand man of Leo O’Bannon (Albert Finney), who becomes involved in conflict with Leo, his lover Verna (Marcia Gay Harden), and her brother Bernie (John Turturro), who is wanted dead by rival Italian mobster, Johnny Caspar.

Johnny’s right-hand man “Dane” comes into play, as does another gangster, Mink, played by Steve Buscemi. Tom changes allegiances and plays one mob boss against the other as a web of deceit, tested loyalty, and murder ensues.

As the first half concluded I was not completely sold on the film.

How many times have I seen a gangster film with all the stereotypical elements, the tough-guy shtick, and the contrivances?

I was afraid I was watching a retread of similar films.

I wondered what the point of the film was- the relationship between Tom and Leo’s struggle for power and control. A triangle between Tom, Verna, and Leo?

I noticed little chemistry among any of them and could not help but wonder if a female presence was required in the film, but not all that necessary. Regardless, I was quickly bored with the character of Verna.

But then the elements of the film started to come together and some rather left-of-center nuances presented themselves leaving me more engrossed.

A homosexual triangle (seldom seen in traditional, crime/mob films) took shape between Mink, Dane, and Bernie. All vicious killers had no stereotypes often seen in the film, which is refreshing.

Dane was arguably the most brutal of all the characters, and the bloodletting was plenty. I found this reveal completely refreshing not to mention unexpected.

However, the intricacies of the triangle were left unexplored. They simply bedded each other.

A pivotal scene set in the woods (Miller’s Crossing) is as gorgeous as it is character-driven. Tom must choose between killing Bernie and proving his loyalty to the mobsters awaiting, or secretly letting him live, fake his death, all in the name of his love for Verna.

But will his decision come back to haunt him?  Is Tom, at his core, a good man or a bad man?

The calm of the forest mixed with the brutality of the film is perfect. I was reminded of the 1970 Italian masterpiece The Conformist as I viewed this beautiful scene. Tom’s conflict between good and evil and his earlier premonition of a tumbling hat comes into play.

His character conflict reminded me of Michael Corleone in The Godfather films.

Look quickly and you will see Frances McDormand, soon to be a fixture in Coen films, as a slinky, well-dressed secretary. We are reminded of great things to come by this then-unknown talent.

A nice thing that I always look forward to in Coen films are the quirky, weird, fun, minor characters, and Miller’s Crossing is no different- Johnny Caspar’s overweight wife and son- an Augustus Gloop from Willy Wonka and the Chocolate Factory lookalike- give comedy to the potentially too dark film.

From Bryan to Tic-Tac, to the fat lady with the purse, all give amusing and meaningful turns that give the film a richness with an unusual cast of characters.

Miller’s Crossing (1990) proves to be a nice little film once it picks up steam and the intertwining of stories, characters, and a bit of classic film noir mixed in, makes it a refreshing take on an age-old genre of film.

2016 Films, Alden Ehrenreich, Alison Pill, Channing Tatum, Clancy Brown, Coen Brothers, Comedy, Dark Comedy, Dolph Lundgren, Emily Beecham, Fisher Stevens, Frances McDormand, George Clooney, Jonah Hill, Josh Brolin, Ralph Fiennes, Satire, Scarlett Johansson, Tilda Swinton, Wayne Knight

Hail, Caesar!-2016

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Hail, Caesar! -2016

Director Ethan Coen, Joel Coen

Starring George Clooney, Channing Tatum

Scott’s Review #377

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Reviewed February 16, 2016

Grade: B+

Hail, Caesar! (2016) is a quirky film created and directed by the Coen Brothers, who are known for offbeat films such as Fargo (1996), No Country for Old Men (2007), and Raising Arizona (1987).

Hail, Caesar is a satirical comedy about the Hollywood film industry during the post-World War II period of the 1950s.

The film features a bevy of current Hollywood talent, including George Clooney, Channing Tatum, Josh Brolin, and Scarlett Johannsen, including singing, dancing, and scandalous matters.

All give fine performances and add humor and wit to the film.

The plot centers on the character of Eddie Mannix (Brolin), a celebrity “fixer” and real-life person who works as an executive for Capitol Pictures and whose primary responsibility is to ensure that famous Hollywood stars remain out of trouble.

The period is 1951, a particularly scandalous time in pictures. One of the biggest stars of the time, Baird Whitlock (Clooney), is suddenly kidnapped and held for ransom while completing a big epic film for the studio.

Mannix must race to keep the crisis out of the news and safely get Whitlock back.

Indeed, there are interesting subplots, including handsome yet talent-less Western actor Hobie Doyle, hired by the studio to appear in a sweeping period piece directed by suave Laurence Laurentz (Ralph Fiennes), and DeeAnna Moran (Johannsen), unmarried and with a “bun in the oven,” determined to keep herself out of the tabloids.

I loved the look of the film, as numerous films occur within it. The 1950s set pieces and designs are exquisite, particularly the period piece set, lavishly designed with classic doors, a staircase, flowers, and a cast dressed to the nines.

It brings back an extravagant time.

The film is a satire, to be sure. Still, it also addresses the serious subject of communism (especially for that period), Russia, and Russian defectors, all involved in a plot to prove a valuable point.

Despite the film being a comedy, this is worth serious consideration. Many Hollywood writers make money for the studios and are rewarded with underwhelming salaries.

The same holds true in Hollywood today.

This point can spill over into other walks of life as well, and the point of the “little man gets screwed” is explored. Communism is also explored throughout the film as the central message- an important message that resonates.

Another interesting tidbit that Hail, Caesar!Mentionss, though only on the surface, is the burgeoning onslaught of television programming.

Suddenly, an increasing number of people were purchasing TVs and avoiding the glamour of films, opting instead for the comfort of their couches.

What a different time it was!

An intriguing, favorite character of mine belongs to Channing Tatum’s portrayal of Burt Gurney, a Gene Kelly-like character famous for singing and dancing numbers. A sizzling sailor dance gives edge and sexuality to the film.

A revealing scandal involving Burt and Laurence is fantastic and delicious.

My favorite scene belongs to Frances McDormand, who shamefully only appears in one scene- quite memorable. As film editor C.C. Calhoun, she diligently shows Mannix film dailies in the hopes of discovering a clue in the disappearance of Whitlock. When her scarf gets caught in the projector, hilarity and grotesqueness ensue.

It is a classic Coen Brothers comedy.

Hail Caesar! (2016) succeeds as a witty, comical throwback to a wonderful time in film history, with a political edge that historians will appreciate and Coen Brothers fans will relish.

Perhaps not their most creative or memorable, but enjoyable all the same.

Oscar Nominations: Best Production Design

2014 Films, Angelina Jolie, Biography, Coen Brothers, Domhnall Gleeson, Drama, Finn Wittrock, Garrett Hedlund, Jack O'Connell, John Magaro, Sports, War

Unbroken-2014

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Unbroken-2014

Director Angelina Jolie

Starring Jack O’Connell, Garrett Hedlund, Domhnall Gleeson

Scott’s Review #260

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Reviewed August 1, 2015

Grade: B

Unbroken (2014) tells the true story of Olympic athlete Louis Zamperini, a runner during the World War II period, who was also serving in the military during this tumultuous time in history.

His story is one of bravery, courage, and endurance, as he survives a hellish experience in a Japanese prisoner of war camp after having crashed in the Pacific Ocean, stranded for forty-seven days as if that were not enough to break a man.

Mainstream Hollywood fare to the hilt, this film is surprisingly directed by Angelina Jolie (a woman) and written by the Coen brothers, the latter usually emitting less traditional and more quirky fare than this film.

Jolie directs what is arguably a “guys movie” that contains very few women in the cast, and the ones who do appear are either loving mothers or giggling schoolgirl types, so the big names associated with Unbroken surprise me.

I would have taken this work as a Clint Eastwood film.

Unbroken, expected to receive several Oscar nominations, was shut out of the major categories.

Visually, Unbroken is slick, glossy, and shot very well- it looks perfect. The cinematography, sound effects, and costumes look great.

The cast of good-looking young men looks handsome even while battered and bruised and half-starved. While in a way this is a compliment, it is also not one. Unbroken lacks any grittiness and plays it quite safe. Even the scenes of abuse and beatings lack an edge to them.

This is not to say that the film is not good. It is good.

I found myself inspired by the lead character of Louis, played by Jack O’Connell, for his resilience during his ordeals. O’Connell gives a very good performance as his motto, “If I can take it, I can make it” is repeated throughout, and who will not cheer at his accomplishments?

Zamperini, who has traditional Italian parents having relocated to the United States, is strict but fair. Louis’s older brother, Peter, is his best friend and is the person who has the most faith in him. At first, Louis is on the verge of becoming a punk, in trouble with the law, if not for the interference of his brother, who gets him interested in the sport of running.

As the years go by and war erupts, Louis embarks on a tour of duty in the military and his plane crashes in the water providing yet another test of courage and stamina. Louis is strong and always the leader of the group he is intertwined with.

The scenes of the three survivors stranded on the raft for days become slightly tedious, but perhaps this is the intention, as they eat raw fish and raw birds to survive. Much of the remaining action is set in two Japanese war camps as Louis (and others) struggle to survive until the massive war has ended- they do not know if they will live or die.

The central antagonist- a vicious Japanese sergeant named “Bird”, perplexed me. Blatantly targeting Louis and administering cruel beatings and heaping tests of strength upon Louis, presumably out of jealousy because Louis was an Olympic athlete, why did Bird not simply kill him?

His motivations were also odd- In one scene, Bird tearfully tells Louis that he knew they would be friends from the beginning and seems to admire him. Bird’s father, going by a photo, seems a hard, mean man. Is this why Bird is so vicious? Bird’s character is not well thought out.

Also, every single Japanese character is portrayed in a very negative light, which sadly is common in war movies. Surely, despite being a war, there had to have been a few Japanese people who were not cruel.

Character development and depth are not a strong suit of this film.

Unbroken is a good, solid, war drama with an inspiring message of triumph, faith, and determination.

Indeed, it is a positive message to viewers of all ages.

The abuse/torture scenes are tough to watch, but the result is a feel-good story.

The snippets of the real Louis Zamperini are wonderful to watch.

Oscar Nominations: Best Sound Editing, Best Sound Mixing, Best Cinematography

2013 Films, Adam Driver, Carey Mulligan, Coen Brothers, Comedy, Dark Comedy, Drama, F. Murray Abraham, Garrett Hedlund, Independent, Independent Comedy, Independent Drama, Jake Ryan, John Goodman, Justin Timberlake, Oscar Isaac, Robin Bartlett

Inside Llewyn Davis-2013

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Inside Llewyn Davis-2013

Director Ethan Coen, Joel Coen

Starring Oscar Isaac, Carey Mulligan

Scott’s Review #35

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Reviewed June 17, 2014

Grade: B+

Being a tremendous fan of the Coen brothers (Fargo-1996, No Country for Old Men-2007) I was eager to see their latest offering, Inside Llewyn Davis (2013).

The Coen’s have such a sense of quirkiness in their characters and while this film is not on the level of their other gems, it is a good piece.

I love the cold, winter, Greenwich Village setting as struggling folk singer, Llewyn Davis (expertly played by Oscar Isaac) struggles over two weeks to land gigs or breaks while encountering many people who either thwart or help his chances of success.

Sadly, the film was ignored by the Oscar brethren, but alas it tells of a slice-of-life experience of a 1960s artist.

As with most Coen brother films, it is cast with unique, interesting character actors in a bit but nuanced parts.

Oscar Nominations: Best Sound Mixing, Best Cinematography

Independent Spirit Award Nominations: Best Feature, Best Male Lead-Oscar Isaac, Best Cinematography