(Working on organizing it by similar aesthetic.)
Inside Llewyn Davis
In Greenwich Village in the early 1960s, gifted but volatile folk musician Llewyn Davis struggles with money, relationships, and his uncertain future following the suicide of his singing partner.
Glossing over the Coen's filmography confirms my immediate sentiment after finishing Inside Llewyn Davis. I have never been moved by one of their films. That is not what they do. They craft tales that shy the beaten path, fill them with semi-human characters and embrace the style they are working in wholeheartedly.
Inside Llewyn Davis has all the hallmarks of a Coen film. With one trump up its sleeve causing me to allow this film to grip me, shake me and leave me the same way it leaves its protagonist. With a wry smile and an empty heart. That trump is Llewyn Davis and his portayer, Oscar Isaac, who gives one of the best performances of that year.
I'll keep this short (I love how I say it as if all of my reviews are incredibly in-depth and lengthy) since I feel like I'll be passing out from exhaustion at any moment, but finally got around to watching this. I've been looking forward to seeing the Coen Brothers' Inside Llewyn Davis ever since I first heard about it, which is usually how it is for me whenever they have a new film coming out. But this is definitely my favorite film of theirs since No Country For Old Men back in 2007 (not saying that I didn't enjoy everything in-between).
I feel like pretty much everything about it this film is perfect, to me at least. Despite it's…
Like many of their protagonists, the Coen brothers make films that aren’t always easy to love. Although a great admirer of the duo and their unique brand of cinema there are only a handful of their films that I truly adore and most of those took more than one viewing to appreciate. As such it might take me a while to decide where Inside Llewyn Davis sits amongst the rest of their work even if its undeniable qualities shine through from its opening moments.
Loosely inspired by a chapter in the life of folk singer, Dave Van Ronk, Inside Llewyn Davis is a melancholic journey through the Greenwich Village folk scene of the early ‘60s following the titular Llewyn Davis,…
Inside Llewyn Davis plays like a real-time thought process of a damaged and longing soul. The title alone may be the most literal title ever to be given to a Coen brothers' film - the film is truly inside Llewyn's mind. His mind is how we see his world and his world is a weaving, incomplete and constantly unsettled pieces of a contemplative puzzle, held together by nothing more than the next thought or meditation. It's lost, but in a way we're here to find it as it beautifully pits a human crossroad into quiet beauty of the highest order.
The film begins and ends with the simple question of who would beat up a folk singer, but through it…
"Llewyn is the cat."
Even richer on second viewing. I feel you could watch this movie 100 times and not reach bottom. I laughed more, and I was moved more, and one performance choked me up more.
Someone needs to do a video essay putting the opening and closing scenes side by side, comparing and contrasting each shot and line reading, and examining what's changed and what stays the same, and why.
An odyssey through cigarette smoke, carrying a lonely soul from couch to couch and from disappointment to disappointment. Chilly, wintry cinema, packed with typical Coens humor (I could listen to Mulligan rant about condoms for days) but also distanced from the crisp time-period that it's depicting. Like the Coen Brothers have said, there's no need to parody the folk genre as everything is right up there on the screen, but there's still a plethora of swelling comfort and unwelcoming depression to be found, sliding a detailed character study into the aura of a peculiar environment. My favorite Coen Brothers film, and if I had to pick one reason why, I'd point you to the moment where an orange tabby cat experiences the rush of the subway for the first time, following the rapid lights as they strobe into oblivion.
It's been awhile since I've felt this connected and been this invested in a character. Each scene showed me more of this man I'd grown attached to, and each character that crossed his path was both unique and perfect in their flaws. I think the music is insanely well done, and definitely the highlight of the film for me. Every time Davis pulls out his guitar he just falls into the music and it's incredible to watch and listen to. and that ending? magnifique.
This film beats you down for one hundred minutes; sucks all the joy around you - to the point of physical exhaustion. After all the abuse, you end up just like its protagonist: Lying on the floor, stunned by a glimpse of Dylan and its haunting music through an alluring grey palette. What a wonderful ride.
"Everything you touch turns to shit, you're like King Midas's idiot brother."
Wasn't sure what to expect, absolutely loved it. Amazing performance by Oscar Isaac & enjoyed every song.
One of the most uplifting yet downbeat movies I've seen in a long time.
Charming and idiosyncratic puzzler uses strange side characters to bounce off out Isaac's towering main performance, with crisp and exact cinematography.
Oscar Isaac, cats and music in general can sell everything. I'm still not a fan of the Coen Brothers, but after Fargo, I think it's the first time I've found the main character/main story intriguing enough to keep up my interest till the ending. And again... OSCAR ISAAC, CATS and MUSIC. It works as well on the screen as it sounds.
Oscar Isaac + the Coen brothers = pure fucking (black?!)magic!
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…