A nice bridge between the noir films that inspired the Coens and the 80s/90s thrillers that grew out of the genre. Frances McDormand plays a character that would have been a femme fatale based on how the men around her cause their own demise, but she is much less complicit. Later on she would probably be the sole protagonist as a victim. The Coens manage to make all four main characters take turns as the lead whose perspective the movie…
The Korean embassy is delightfully active promoting their culture by screening some movies every month this Spring. Having this movie represent Korean cinema is pretty perfect. It appears algorithmically created based on positive attitudes towards gangster movies, silly comedies, and cute crying children.
All these elements are just smashed together making it almost a parody of the famous Korean tonal shifts. The lack of subtlety in this construction is so egregious that it ends up pretty endearing, but also makes the sappy emotions at the end far less moving than intended. It's all good fun though.
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…
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…