When I was at the Rijksmuseum in Amsterdam this summer I was once again amazed by the very cinematic compositions of the Dutch Baroque painters like Vermeer and De Hooch and that it is a shame this tradition hasn't translated to modern filmmakers. There's no doubt Verhoeven is influenced by the historical painters though. Perhaps more so the satirical Renaissance paintings with dressed up monkeys showing the follies of man. It's as if Verhoeven sneaks in a few of those…
Frantic one-crazy-night movie that exceeds not only thanks to the expertly managed pace or Robert Pattinson's magnetic performance. The biggest strength is that the movie never pretends that anything that happens is anything but destructive to everyone involved. You think you root for Pattinson's well-meaning character, but the longer it goes on the more it turns into codependency. This insightful perspective that good intentions are not really that useful if you have a screwed up world-view really sets the movie apart from those who just want to tell an engaging story.
I don't understand how the Coens manage to make stories that appear cynically dark but infusing them with a warmth and humor. This story of a singer-songwriter with a romanticized self-image is a hilarious tribute to struggling artists and the way they can sabotage themselves. Llewyn Davis writes nonsensical lyrics as he hasn't lived anything to write about, since that would cramp his artistic style and not let him live. This type of warped self-image is standard for the Coens…
The first time I watched this movie I enjoyed it but wasn't blown away. I think I was expecting something more surreal after loving Dream (Bi-mong). This time around I was struck by how similar those movies are, and I'm a bit surprised I didn't appreciate it more before.
The gradual introduction to the protagonists' world says enough about the whole movie. You get an image of the male character looking for something that he doesn't have, and then you…