There are stories of triumph, stories of redemption, stories of loss. I’ve seen enough Coen Brothers movies to know that I shouldn’t expect their work to be easily classifiable along such lines. Even though the CoBros (no good?) often work in familiar genres, their themes and storylines are challenging and unpredictable. Inside Llewyn Davis is certainly one of these films. As I now consider it, one theme consistent throughout the Coens’ career is the idea that the worlds they create couldn’t care less about the plight of the individuals in their films. Their characters get no special treatment. Not even loveable pregnant Margie Gunderson is spared from the violent undercurrent that so often underpins the Coens’ worlds. [Read more…]
Spike Jonze has created an almost perfect film. I have not felt the joy of cinema as greatly as I felt with this movie in a long time, probably since I found out about Orson Welles. Her is funny, sexy, tender, beautiful, and sad.
I was a massive fan of the boiling creativity that enveloped Jonze’s first two feature films, Being John Malkovich and Adaptation. But after the snooze-fest that was Where The Wild Things Are, I wrote off Spike Jonze to a degree, assuming the brilliance of those films was all Charlie Kaufman (screenwriter of Malkovich and Adaptation). Boy, was I wrong. [Read more…]