The best that cinema has had to offer since 2000 as picked by 177 film critics from around the world.…
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,…
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.
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.
- You got a new cat.
- No. No, he came home. Found his way back. The doorman heard something scratching yesterday morning. Early morning, the wee hours.
- Yeah, see? It's Ulysses.
- It's... Ulysses? ...That's its name?
Everyone, however humble, lives his or her own Odyssey — even Ulysses the cat, and even those in the shadow of Bob Dylan.
this movie had me so invested, i was clapping after every song
The Coen Bros. sure love their Joseph Campbell heroes. I liked this a lot, but it's not nearly as engaging as its Greek saga-influenced counterparts ("The Big Lebowski" and "O Brother Where Art Thou"). It seems like a melancholy denouement to a trilogy of otherwise fun films. "Lebowski" shines in every way; its characters are memorable as are its sets, dialogue, and music. "Brother" succeeds as a love note to Americana and offers an incredible timeless soundtrack. "Llewyn Davis" skews younger and our hero and his music reflect that, but not always in the most filmic ways. The movie doesn't nail a consistent pace, losing us in a character less bombastic than we'd like and a drab appearance. An exception…
The more I see of the Coen Brothers, the more I am convinced that they are the best there has ever been.
Ginny, where's Cincinnati?
nothing will ever resonate with me as strongly as the woman that tries to harmonise with llewyn at the dinner table only to be swiftly cut off
Beautiful minimalist aesthetic, dry humor intertwined with genuine, flawed and sympathetic characters. Verges on dreamy, even hazy. A perfect late night dose.
As a big Coen Brothers fan, I was somewhat surprised that I just couldn't get into this. Perhaps it was too melodramatic, too down beat, too depressing, too much folk music? The performances were great, the dreamy visual aesthetic was lovely, but overall, far from my favourite.
10... 9... 8, 7, 6, 5. 4... 3... 2, ONE SECOND PLEASE
PLEASE MR KENNEDY (UH OH) I DON'T WANNA GO (PLEASE DON'T SHOOT ME INTO OUTER SPACE)
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