What is Hail, Caesar!? What isn’t Hail, Caesar!? It’s a comedy, a noir, a historical epic, a musical (of two different varieties), and a melodrama. It’s a movie about the glory days of the industry that churns them out, and how the system so often resembled 1,000 spinning plates wobbling in perfect harmony for a split second. It’s a film about faith, and the pivotal role that it plays in one man’s search for meaning amidst the chaos of existence. It’s a tale of the Christ, told by two Jews who wouldn’t trust Jesus to save a cat out of a tree, let alone someone’s mortal soul. That is to say: It’s a Coen brothers movie, and one of their…

92/100

"Would that it were so simple.”

Hail, Caesar! begins with the image of a crucifix as a solemn hymn silently sings within a quiet church, establishing an earnest degree of gravity in a surrounding world of profound, bewildering zaniness. It is in this opening image, soon dissolving into a close-up of Christ’s universal display of sacrifice, where we meet the Coens; not as filmmakers, but as autobiographers. That’s not to say that Hail, Caesar! is strictly about any specific experience, but it feels mined from within, a slapstick-y scream of annoyance and frustration that continuously trails back, wounded but energized, to the swelling love of cinema.

Much can be stated about the film’s pure aesthetic pleasures, evoking the classicism…

49/100

[original one-sheet]

Not the Coens' worst (though it's close), but easily their laziest. Structurally, it's a disaster, continually and arbitrarily switching back and forth between puckish character study (of a surprisingly bland character) and goofy ensemble piece—it's as if (a blander) Llewyn Davis had wandered into Burn After Reading, which would do neither Llewyn nor BAR's clockwork plotting any favors. More than that, though, Hail, Caesar! plays like 21st-century Woody Allen, which is to say that it feels like they wrote exactly one draft and then immediately shot it. (Casting tons of recognizable faces in forgettable bit parts—did they really need Alex Karpovsky to walk around a room snapping photos?—heightens the resemblance.) So many potentially terrific ideas never amount…

DIVINE PRESENCE TO BE SHOT

the coen's oeuvre is a varied one chalk full of different genres, ideas, characters etc, sometimes light & wacky, other times heavy & serious but there is a constant -- the coen's love to tell stories about individuals pointlessly (but endearingly) fighting the stupid, chaotic, contradictory systems that, for whatever reason, control human life. whether it be the existential grasping of A Serious Man or Barton Fink, or the straight-up moronic confusion of Burn After Reading ("all bureaucracy, no mission"), the coen's never fail to argue for the little guy's individualism in systems that see no value in them. they're just as humanistic as they are nihilistic. and in this regard Hail, Caesar is the coen brothers…

Hailing God and Mammon.
The Coens grope after faith in Hail, Caesar!

The Coens are back! That doesn’t mean their Hollywood spoof Hail, Caesar! is great fun; but at least they seem to be over the hipsterism that curdled Inside Llewyn Davis, and have returned to genuine cultural satire.

Set in 1951, Hail, Caesar! is a Boomer reflection on the period when movies expanded to CinemaScope with musicals and Biblical epics to fight off the encroachment of mundane television. (But why do the Coens play with square, rather than rectangular, screen formats?) The Coens want to parody industry habits as well as individual piety, and they do both in the figure of Eddie Mannix (Josh Brolin), production boss at Capitol…