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You might be right, when I think of Blood Simple I think of a Great Film and when I think of Raising Arizona... well, there is nothing negative one can possibly say about it so maybe it is too.
And yet, how could I put any of them above No Country For Old Men, The Big Lebowski, and my beloved (and I know not everyone shares this but whatever) Miller's Crossing?
Would I put them above Barton Fink? Oh Brother, Where Art Thou? Fargo?
But then if you flipped it and said, definitively say that Miller's Crossing is better than Fargo, could I possibly?
So we agree, there's an issue.
I reeeeeally need to rewatch Barton Fink and Miller's Crossing cause I saw both back in the 90s when I was, 18? 19 years old? and even though I appreciated them, I feel like most of them went over my head; especially Barton Fink. But all the others you mentioned are fighting for the top spots on my ranking.


A Serious Man is my favorite Coen film, though there's still a bunch of their films I haven't seen yet.
I actually have A Serious Man at #4 or #5 on my ranking. Great film.

No Country for Old Men is my favorite Coen film and The Ladykillers is my least favorite.

After that, it’s more or less a free for all deciding what goes where.
It's a mess alright. A glorious mess of masterpieces.
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Bright light. Bright light. Uh oh.

The Girl Who Got Away (Michael Morrissey, 2021)
6-/10
Invasion of the Neptune Men (Kôji Ohta, 1961)
4-/10
Here's to the Young Lady (Keisuke Kinosh!ta, 1949)
6/10
20,000 Days on Earth (Iain Forsyth & Jane Pollard, 2014)
7/10

Nick Cave recreates his writing and rehearsal process culminating in an intense mini-concert.
Stillwater (Tom McCarthy, 2021)
6/10
Crime Story (Ezna Sands, 2015)
+ 4.5/10
Reminiscence (Lisa Joy, 2021)
6-/10
The Truffle Hunters (Michael Dweck & Gregory Kershaw, 2020)
- 6.5/10

Elderly Italian truffle hunters find it hard to get by now, but they spend most of their time talking to their dogs and arguing with their elite buyers.
Sweet Girl (Brian Andrew Mendoza, 2021)
+ 5/10
Repast AKA A Married Life AKA Meshi (Mikio Naruse, 1951)
6/10
Message from Space (Kinji Fukasaku, 1978)
+ 4.5/10
The Swimming Pool (Jacques Deray, 1969)
+ 6/10

Filled with luscious flesh (here with Romy Schneider and Alain Delon), weird relationships and murderous intentions.
Made in China (Julien Abraham, 2019)
5/10
Sound of the Mountain (Mikio Naruse, 1954)
6/10
Black Island (Miguel Alexandre, 2021)
5.5/10
Wolf Guy (Kazuhiko Yamaguchi, 1975)
6/10

Detective Sonny Chiba is investigating some wolf curse killings and may be involved more than he knows.
Snake Eyes (Robert Schwentke, 2021)
5.5+/10
Naked Singularity (Chase Palmer, 2021)
+ 5/10
Hide-Out (W.S. Van Dyke, 1934)
6/10
Punk Revolution NYC (Tom O'Dell, 2011)
7/10

Three-hour examination of the history of punk music dating back to the Velvet Underground.
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I forgot the opening line.
Well, a lot said about the Coens, and I was all ready to proclaim Miller's Crossing, No Country for Old Men and Fargo (all 10/10 ratings for me) the best three Coen Bros films. Then I forget Inside Llewyn Davis - one of my favourite films of all time. Barton Fink and A Serious Man also get a 10/10 from me. Oh yeah, and The Big Lebowski is also one of my all time favourite films. It starts getting ridiculous.

Yesterday though, I waded through the Coen Bros three worst films. It's hard to believe they actually made a few bad ones (and I'm not saying absolute crud,) but these three qualify :


Fair use, https://en.wikipedia.org/w/index.php?curid=1128687

The Hudsucker Proxy - (1994)

Amidst a lot of screaming and fevered overacting comes The Hudsucker Proxy, and I swear this film would have been a lot better if they'd dialed it down a notch or two. Main character Norville Barnes (Tim Robbins) is a silly schlub who succeeds despite himself and the machinations of the Hudsucker corporation. Everyone is a caricature and a little too overbearing - but the film has some nice moments, such as journalist Amy Archer (Jennifer Jason Leigh) singing a beat behind while pretending to come from Norville's home town of Muncie. Overall though, this is 111 minutes of migraine-inducing mania which mistakes wild gesticulation and bellowing for humour.

The Hudsucker Proxy was a box office bomb and earned negative reviews on it's release - but has since earned itself a cult following. I've yet to be won over.

A very kind 5/10

Intolerable Cruelty - (2003)

This film would have been far better than The Hudsucker Proxy, but for it's two main characters being impossible to like or root for. Marylin (Catherine Zeta-Jones) is a gold-digging, cold and calculating woman. Miles (George Clooney) is a high-priced lawyer with no scruples. By the end of the film I think we're meant to be in their corner - and to think maybe they've changed - but I couldn't see why. I found the film to be funny on occasion, but uneven. Billy Bob Thornton and Geoffrey Rush add some much needed sparkle. This was the best of the worst, but still not really good. Great opening credits though.

5/10

The Ladykillers - (2004)

Ugh. This one. For me, this is the worst film the Coens have made to date. I was disappointed with Hail Caesar! - but that film is better than these three, and this film is poorer than the other two. Tom Hanks never comes to grips with his Southern character and everything falls around him like a series of dominos. It doesn't help that everyone is trying to live up to the original 1955 film - a daunting task. I thought maybe a fresh look at this would improve it slightly in my mind, but I felt exactly the same this time around. There's no saving this when the leering, preening and silly Professor G.H. Dorr (PhD) not only fails to raise a chuckle, but even a smile. Surprisingly for a Coen Bros movie, the acting cupboard is fairly bare beside Hanks - Marlon Wayans and J.K. Simmons would normally have very small supporting roles in any of their other films.

4/10



Oh, man, yeah! One of the great films which seem to be on everyone's top 25 noirs, many have it in the top 10. Arguably Bogart's greatest acting, and we who are Gloria Grahame fans can never get enough of her. I just read that the actress who portrayed Mildred Atkinson (Bogart's secretary who is killed) just died in February of this year at aged 98! How about that?
I love noir and even though I've been watching just about anything remotely fitting that description I had never heard of this. I've literally watched dozens of noir films and yet I keep running across movies like In A Lonely Place. I don't really make a point of searching out specific types of films. I guess I try to take it as it comes in hopes of ending up pleasantly surprised. And that's usually the case.



Just watched this. My eyelids were like a dam for 95% of this film, holding back the tears. Then the floodgates opened in the end scene and I wept like a child.

Beautiful film, so sensitively handled. James Norton is brilliant as the father with a decision to make for his 4 year old son.

7.7/10




Midnight Cowboy (1969) 4.5/5

The Exorcist (1973) 4/5

The Postman Always Rings Twice (1981) 4/5

Videodrome (1983) 4/5

9 1/2 Weeks (1986) 3.5/5



Stillwater (2021)

This was a good movie, not groundbreaking but solid and honest. P.s is there a deal between the Afflecks and Damon to wear as much Carhartt garb in every flick they are in ha ha ha???
solid



Annette

It’s a 2 1/2 hour slog of highly repetitive lyrics and superficial surrealism that feels like a community college theater stumbled into a massive production budget. The majority of this seems fall at the feet of Sparks, whom wrote the music and the script but Carax isn’t blameless, for as many virtuoso long takes there are just as many sequences that have a distinct DIY green screen effect that looks abysmal, including a Superbowl-esque arena climax that looks more befitting of a Breen flick.

The film isn't without merit. The performances are outstanding from the three leads, especially Driver who continues to throw all of himself into every role given to him. I also appreciate Carax's willingness to be audacious and swing for the fences. This swing just entirely missed the ball for me and continued to miss the ball for over two hours, becoming increasingly imbalanced and sloppy until it threw the bat and continued to punch wildly at the air until the credits rolled.

Check it out! Ya might love it. You also might hate it.




Annette

It’s a 2 1/2 hour slog of highly repetitive lyrics and superficial surrealism that feels like a community college theater stumbled into a massive production budget. The majority of this seems fall at the feet of Sparks, whom wrote the music and the script but Carax isn’t blameless, for as many virtuoso long takes there are just as many sequences that have a distinct DIY green screen effect that looks abysmal, including a Superbowl-esque arena climax that looks more befitting of a Breen flick.

The film isn't without merit. The performances are outstanding from the three leads, especially Driver who continues to throw all of himself into every role given to him. I also appreciate Carax's willingness to be audacious and swing for the fences. This swing just entirely missed the ball for me and continued to miss the ball for over two hours, becoming increasingly imbalanced and sloppy until it threw the bat and continued to punch wildly at the air until the credits rolled.

Check it out! Ya might love it. You also might hate it.

How did you feel about Holy Motors, just for a reference point?



How did you feel about Holy Motors, just for a reference point?
This was my first from Carax and Sparks. (aside from a few clips and a few riffs from each respectively).

I've been wanting to see HM for forever but just never managed to get it it. I will say that Annette inspired me to check it out sooner rather than later as I want to see how much of my dislike for this film came from Sparks or Carax (a Spotify scan is already leaning me towards the former as the cause).





Shiva Baby, 2020

Danielle (Rachel Sennott) leaves a steamy (and paid!) encounter with her sugar daddy, Max (Danny Deferarri) to attend a funeral event at the home of family friends. However things go quickly off the rails when Max arrives at the house. Under the inquiring eyes of numerous older relatives and family friends, Danielle's life is picked apart. Danielle's childhood friend and rival Maya (Molly Gordon) is also at the party, only heightening the tension.

I'm sorry, but this movie is classified as comedy-drama, when clearly it is a horror film.

Okay, to be fair, the film deliberately plays many sequences as if they are a horror film, which is probably the most effective comedic aspect. Danielle stumbles through the gathering to the plucking and bowing of disjoint and jangling violins, as relatives lurch out at her from doorways like something out of a creature feature. The screams of an upset baby punctuate many of the scenes.

There's so much to unpack with this film, and the interactions are incredibly loaded with layers of meaning and different power dynamics.

At a very basic level, it's interesting that Danielle, in a very literal way, is always the one seen as "making the mess", even when others are clearly to blame or at least a significant part of it. Everything about Danielle's life is picked apart: her weight, her job prospects, her (lack of a) husband/love life. She is bisexual, which her parents have decided to refer to as "experimenting". There is something particularly ruthless about the way that Danielle (and Maya) are subjected to constant comparison.

Something that the film really nails is the flutter of mixed messages that young people can receive. Danielle is at once overly babied and mocked for not being more of an adult. She's told repeatedly that people are proud of her and believe in her, while the next moment everyone pulls confused faces about her studying "feminism". It's definitely true that Danielle has fallen into a trap that many people do: she has gone to college but she doesn't have any specific direction for her studies or plans for what to do after she graduates. I think something that the film observes very keenly is that Danielle is kept to busy defending her choices to others, that she hasn't had a chance to look critically at her choices herself.

I also thought that the character dynamics of the movie were portrayed very well. Danielle's relationships with Maya, Max, and her parents all evolve and gain depth and poignancy as the film progresses. In fact, to discuss what I loved most about this aspect of the film would be to give away key plot points and developments.

During this film I was like "Man, this is getting really intense!!" only to realize that I was a mere 20 minutes into it. As someone who genuinely suffers when forced to watch a character endure repeated humiliation and put-downs, I wasn't sure I'd feel good about watching the full 80 minutes. But there is just so much good character work, and the saving grace of the film is the journey that Danielle goes through during the gathering. I even found the ending kind of uplifting and sweet.

I can already hear the criticisms that Danielle isn't "likable" (similar to some of the criticisms of Frances Ha), or whatever. But I don't think that she's meant to just be someone we like. She's someone who, trapped in a cycle of coddling and criticism, has not made the most of the advantages given her. The funeral gathering becomes a sort of trial by fire whereby all of her mistakes and regrets are laid bare in front of a well-meaning but also unsparing audience. Everything that she does is understandable, even as it's frustrating. It's not "Why would she do that?" so much as it is "Oh, sweetie!!! Don't do that!".

I also found the film genuinely funny, with most of the humor admittedly arising from the antics of the older set of folks at the gathering. "Tell me: does this bathroom have an operating fan, or a window that can be opened?" or "And off we go! Like a flock of turkeys!".

Anyway, I'd be more than delighted to have a spoiler-text loaded discussion with someone else who's seen this one.









SF = Zzz

[Snooze Factor Ratings]:
Z = didn't nod off at all
Zz = nearly nodded off but managed to stay alert
Zzz = nodded off and missed some of the film but went back to watch what I missed
Zzzz = nodded off and missed some of the film but went back to watch what I missed but nodded off again at the same point and therefore needed to go back a number of times before I got through it...
Zzzzz = nodded off and missed some or the rest of the film but was not interested enough to go back over it



A Serious Man is my favorite Coen film, though there's still a bunch of their films I haven't seen yet.
If you haven't seen Raising Arizona (1987), that IMO was the film which really anchored them on the map. It's hilarious. Nicholas Cage, Holly Hunter.