2024 Blind Spot Series: Mikey and Nicky

 

(In Memory of M. Emmet Walsh 1935-2024)

Written and directed by Elaine May, Mikey and Nicky is the story of two small-time mobsters who have become estranged as one of them is hiding from a boss after stealing money as he seeks the help of his estranged friend. The film is a crime drama that explores two former friends who deal with their estrangement as well as the trouble they’re both in as it is told in the span of one entire night as the titular characters of Mikey and Nicky are played respectively by Peter Falk and John Cassavetes. Also starring Ned Beatty, Rose Arrick, Carol Grace, William Hickey, Sanford Meisner, M. Emmet Walsh, and Joyce Van Patten. Mikey and Nicky is a gripping and rapturous film from Elaine May.

Set in Philadelphia in the span of an entire night, the film follows a small-time mobster who calls his estranged best friend for help after being in hiding over a theft as he’s also pursued by a hitman. It is a film that is about male friendship between two lifelong friends as they spend an entire night on the run from a hitman while trying assess the situation created by one of them who has become paranoid and unruly. Elaine May’s screenplay is largely straightforward as it is told in the span of 12 hours where Nicky is hiding in a hotel as he knows there’s a contract for his head as he’s stolen money that left someone dead as the boss Dave Resnick (Sanford Meisner) wants Nicky dead with the hitman Kinney (Ned Beatty) in pursuit. Mikey gets the call from Nicky after years of not getting anything from him as he tries to help yet the two would go on the run throughout the city as they also cope with their estrangement as Nicky acts erratic as well as changing plans much to Mikey’s frustrations for much of the night.

May’s direction is quite unique for the fact that much of the film is shot at night and has a looseness in the way she approaches a crime film involving two men who are on the run. Shot on location in Philadelphia as well as Los Angeles, May creates a film that is filled with tension as it plays into these two estranged men who both have families yet Mikey is the one that is devoted as he would call his wife Annie (Rose Arrick) a few times telling her that he’ll be late as she knows something is up. There are some wide shots that May would create to play into the tension and looseness as much of the dialogue feels improvised. Yet, May chooses to be more intimate in the way the titular characters interact with one another through medium shots and some close-ups that includes scenes of Kinney waiting in a car to do his job.

May also plays into this sense of chaos that Nicky would put Mikey through such as a meeting with a hooker in Nellie (Carol Grace) whom Nicky treats terribly and convinces Mikey to try and have sex with her. It is among these dark moments in the film that would lead to its third act as it shows why these two men have been estranged with Nicky becoming more erratic and abusive despite the seriousness of his situation. May also infuse some humor as well as dark humor in how Nicky reacts to things as well as to liven things up as it would be this distraction of him avoiding the issues he is facing. The film’s third act is definitely filled with a lot of dramatic suspense with Mikey making a decision for himself as it also plays into this ending that not surprising but heartbreaking. Overall, May crafts a compelling and riveting film about two estranged friends who are on the run from a hitman as they deal with their estrangement and the severity of their actions.

Cinematographer Victor J. Kemper, with additional work from Lucien Ballard, Bernie Abramson, Jack Cooperman, and Jerry File, does excellent work with the film’s cinematography for using low-key lights for many of the exterior scenes at night as well as some stylish lighting with Ballard bringing a softer look for the film’s final sequence. Editor John Carter, with additional work by Sheldon Kahn, does nice work with the editing as it is largely straightforward that does include some rhythmic cuts to play into the dark humor and suspense. Production designer Paul Sylbert and set decorator John P. Austin do brilliant work with the look of Nell’s home as well as the home where Mikey lives with his family and a few places they go to.

The sound work of Christopher Newman and Larry Jost is terrific for the sound as it is largely straightforward in the way music is played in a bar or the way things sound from afar or up-close outside in the streets. The film’s music by John Strauss is wonderful for its jazz-like score that plays into the drama and suspense while its soundtrack include music from the O-Jays, the Andrew Sisters, and standards performed by Strauss.

The film’s superb ensemble cast feature some notable small roles and appearances from M. Emmet Walsh as a bus driver who gets into a fight with Nicky, Sy Travers as a hotel clerk, Danny Klein as Mikey’s young son Harry, Virginia Smith as Nicky’s mother-in-law, William Hickey as a mob figure in Sid Fine, Sanford Meisner as the mob boss Dave Resnick whose money was stolen by Nicky, Rose Arrick as Mikey’s wife Annie who would learn more about Nicky and Mikey’s issues with him, and Joyce Van Patten in a fantastic one-scene performance as Nicky’s estranged wife Jan who reluctantly helps Nicky despite her disdain for him over his erratic behavior and lack of remorse for his own actions. Carol Grace is excellent as Nellie as a prostitute who is a lover of Nicky yet proves to be far more engaging in the view of Mikey as she is treated horribly by Nicky who only wants her for sex and to slap around.

Ned Beatty is amazing as the hitman Kinney as a man who goes on the pursuit of Nicky as he becomes frustrated in his search and having to wait around as he drives throughout the city as it is a bit of a comical performance but also dark in what he had to do. Finally, there’s the duo of Peter Falk and John Cassavetes in great performances in their respective roles as the titular characters. Falk as the more sensible Mikey is someone that is respectful as he tries to help Nicky yet is constantly frustrated while is put into situations that get him into trouble as he would be pushed to the edge. Cassavetes’ performance as Nicky is a lot more energetic to convey the paranoia and erratic behavior as a man that knows he’s going to be killed as he tries to kill time in order to avoid Kinney. Falk and Cassavetes together have a unique chemistry in the way they play off one another with Falk being the straight man and Cassavetes being the wilder of the two as they also have a looseness into their performances as they are a major highlight of the film.

Mikey and Nicky is a phenomenal film from Elaine May that features tremendous leading performances from Peter Falk and John Cassavetes. Along with its supporting cast, gritty visuals, its exploration of male friendship, and a fun music soundtrack. It is a crime drama that doesn’t play by the conventions while also exploring a man facing death and his friend to save him despite his many frustrations towards him. In the end, Mikey and Nicky is a sensational film from Elaine May.

Elaine May Films: (A New Leaf) – (The Heartbreak Kid) – (Ishtar) – (Mike Nichols: American Master)

© thevoid99 2024

The Pope of Greenwich Village

Based on the novel by Vincent Patrick, The Pope of Greenwich Village is the story of two cousins who decide to go into crime to help fund their dreams of owning and running a restaurant. Directed by Stuart Rosenberg and screenplay by Vincent Patrick, the film is an unconventional crime-drama that follows two men trying to do whatever they can to get money as well as go head-on into the world of crime. Starring Mickey Rourke, Eric Roberts, Darryl Hannah, Geraldine Page, Kenneth McMillan, Frank Vincent, M. Emmet Walsh, and Burt Young. The Pope of Greenwich Village is a witty and exhilarating film from Stuart Rosenberg.

The film follows two Italian-American cousins working and living at the Greenwich Village area of New York City as they dream of being successful and run their own restaurant where they go into the world to crime to fund that dream. It’s a film that is about two guys trying to do what they can yet they deal with so much adversity as well as the fact that one of them is a total screw-up and the other is cautious with a lot to deal with. Vincent Patrick’s screenplay explores the unique dynamic between Charlie (Mickey Rourke) and Paulie (Eric Roberts) as these two cousins who both want to succeed yet Charlie is someone that is trying to work hard and do things the right way. Paulie is a guy that likes to scheme and often put Charlie in trouble as the film begins with Charlie working as a maître d’ at a restaurant where Paulie is the waiter who gets Charlie in trouble and they both lose their job.

Paulie gets a tip about money stashed in a safe as he coerces Charlie to be involved as they’re joined by a locksmith/clock repairman in Barney (Kenneth McMillan) as their safecracker. The job succeeds except for an encounter with an undercover policeman (Jack Kehoe) that went wrong as Charlie then learns who the money belongs to which causes even more trouble. Adding to Charlie’s problems is that he is paying alimony to his ex-wife as they have a son and his girlfriend Diane (Daryl Hannah) is pregnant with his child as he is trying to do good things for her. Still, Charlie has a loyalty to Paulie which irks Diane since she knows that Paulie is an idiot and always find a way to mess things up. Even as Paulie would be confronted by hoods who work for the mobster Bed Bug Eddie (Burt Young) including Paulie’s Uncle Pete (Tony Musante) forcing Charlie to settle the matter.

Stuart Rosenberg’s direction does have bits of style yet much of it is straightforward as it is shot on location in New York City and in the Greenwich Village area with some of it shot in New Jersey. While Rosenberg would use a lot of wide shots that would create some unique compositions of the characters on a roof with certain city landmarks in the background. Much of the compositions Rosenberg creates are intimate with its close-ups and medium shots that includes a key meeting between detectives and the mother of the dead undercover officer as it’s a very chilling moment due to what happened to the undercover officer and his mother’s reaction. There are scenes of humor in the film yet much of it is dramatic with some stylish dialogue as it play into the environment of the film. Rosenberg’s direction also play into this world of the streets where it has its own rules and idea of justice as it’s something Charlie is fully aware of while Paulie is sort of ignorant about it thinking he can charm or bullshit his way out of a situation. The third act revolves around Paulie dealing with the consequences of who he stole the money from and the fallout of those consequences in which Charlie realizes what he has to do. Yet, there is a sense of conflict in Charlie in whether to help out someone that is family or to save himself. Overall, Rosenberg crafts a lively and engaging film about two cousins going to crime to fund their dream.

Cinematographer John Bailey does brilliant work with the film’s cinematography with the richness of some of the daytime exterior scenes as well as the usage of low-key lights for Bed Bug’s hideout in its interiors and the usage of lights for some of the scenes set at night. Editor Robert Brown does excellent work with the editing as it is largely straightforward to play into the drama and the few moments of suspense such as Paulie being confronted by his uncle. Production designer Paul Sylbert and set decorator George DeTitta Sr. do fantastic work with the look of the restaurant Charlie and Paulie work at in the film’s opening sequence as well as the former’s apartment and the place where Bed Bug works at.

Costume designer Joseph G. Aulisi does nice work with the costumes from the stylish suits that Charlie wears to some of the stylish clothes that Paulie wears. Sound mixer James Sabat does terrific work with the sound as it play into the atmosphere of some of the locations. The film’s music by Dave Grusin does amazing work with the film’s soundtrack as it’s a mixture of jazz and pop to play into the energy of Greenwich Village while music supervisor Harry V. Lojewski provide a fun soundtrack that mixes pop and jazz that include music from Frank Sinatra.

The casting by Bonnie Timmerman is superb as it feature some notable small roles from Joe Grifasi as Jimmy the Cheese Man, Philip Bosco as Paulie’s father, Val Avery and M. Emmet Walsh as a couple of detectives, Tony Musante as Paulie’s Uncle Pete, Jack Kehoe as the undercover detective Bunky, and Frank Vincent as Bed Bug’s crew chief. Geraldine Page is incredible in her brief two-scene performance as Bunky’s mother Mrs. Ritter as a woman who is wondering what her son is doing and later cope with the aftermath as it’s just a very powerful performance. Burt Young is fantastic as Bed Bug Eddie as a local mob hood who is trying to maintain some power in his turf while wanting to find out who stole his money. Kenneth McMillan is excellent as Barney as locksmith/clock repairman who helps Charlie and Paulie as their safecracker where he understand what is going on as well as becoming uneasy about who the money belonged to where he knows something is about to go wrong.

Daryl Hannah is brilliant as Diane as Charlie’s girlfriend who is concerned about what Charlie is doing as well as seeing if he can provide a future for both of them and their child that is on the way. Finally, there’s the duo of Mickey Rourke and Eric Roberts in phenomenal performances in their respective roles as the cousins Charlie and Paulie. Rourke provides a performance that is grounded while also having moments of anger and frustration into the obstacles he is given relating to his dreams of running his own restaurant and his relationship with Diane. Roberts’ performance is filled with charm and an energy that is insatiable to watch as someone that is often upbeat but also naïve about the ways of the world as Roberts is always fun to watch. Rourke and Roberts together have this chemistry that is powerful as well as having this sense of brotherhood as two guys who depend on each other no matter how fucked up one of them is.

The Pope of Greenwich Village is a remarkable film from Stuart Rosenberg that feature top-notch performances from Mickey Rourke and Eric Roberts. Along with its great supporting cast, riveting story, dazzling visuals, and a fun soundtrack, it’s a film that explore the folly of ambition and crime as well as two cousins trying to do whatever they can to reach their dream. In the end, The Pope of Greenwich Village is a sensational film from Stuart Rosenberg.

Stuart Rosenberg Films: (Murder Inc.) – (Question 7) – Cool Hand Luke - (The April Fools) – (Move (1970 film)) – (WUSA) – (Pocket Money) – (The Laughing Policeman) – (The Drowning Pool) – (Voyage of the Damned) – (Love and Bullets) – (The Amityville Horror) – (Brubaker) – (Let’s Get Harry) – (My Heroes Have Always Been Cowboys)

© thevoid99 2017

Ordinary People

Based on the novel by Judith Guest, Ordinary People is the story of a upper-middle class family who copes with the loss of their son while his younger brother deals with survivor’s guilt as he returns home from the hospital. Directed by Robert Redford and screenplay by Alvin Sargent, the film is an exploration of a family dealing with loss as well as a young man wondering about his own role in his family and his relationship with his own parents. Starring Donald Sutherland, Mary Tyler Moore, Timothy Hutton, Elizabeth McGovern, and Judd Hirsch. Ordinary People is a somber yet engaging film from Robert Redford.

The film is the story of a family reeling from the aftermath of the death of a son as well as the suicide attempt of another as they try to move on as if nothing is happening yet the surviving son still copes with survivor’s guilt. It’s a film that explores a family that slowly unravels as they’re forced to see things and reflect on aspects of their life. The film’s screenplay by Alvin Sargent is quite straightforward as it largely takes place during the autumn season in an upper-middle class suburbia near Chicago where its 18-year old son Conrad Jarrett (Timothy Hutton) has just got out of the hospital for a month as he returns to school trying to get back to his normal routine before his brother’s death and suicide attempt. Yet, he’s become withdrawn and unable to do what he’s done in the past while he’s having a harder time trying to express himself emotionally with his mother Beth (Mary Tyler Moore). For his father Calvin (Donald Sutherland), he is concerned for Conrad’s well-being as well as try to keep everything calm.

Conrad would turn to a psychiatrist in Dr. Berger (Judd Hirsch) for answers but finds himself not only dealing with memories of the boating accident that killed his brother Buck (Scott Doebler). He also copes with the fact that he’s still alive which hasn’t made him deal with things as easy as he wants to be. The script is really noted for its development as Conrad is just someone that is trying to make sense of everything he’s feeling as he would quit the swim team and befriend a young classmate in Jeannine (Elizabeth McGovern) who would give him a bit of hope. Yet, it’s at home where things become difficult where his mother remains cold and distant as she’s trying to maintain some sense of normalcy around family and friends. For Calvin, he tries to understand what his son is feeling and why his wife has been reacting at things where he eventually comes to realize that something is wrong as he becomes aware that not everything is alright. Even as Beth would snap him for talking about Conrad and their situation to family and friends as it show cracks starting to emerge.

Robert Redford’s direction is actually quite simple in terms of the compositions he creates as he doesn’t really go for any kind of flashy visuals in favor of just doing something that is direct and to the point. Shot on location in Lake Forest, Illinois and parts of Chicago, the film does play into the world of suburbia where everything looks nice and everyone is perfect which is really a façade. There are some wide shots that Redford uses yet his approach to medium shots and close-up add a lot to the drama from the sessions that Conrad would have with Dr. Berger or the moments involving the family. There are also flashbacks that would appear every now and then such as the boating accident but also time of the family before Buck’s death and Conrad’s suicide attempt. Those are the few moments in the film where Redford would show some aspect of style as it has a mixture of fantasy but also terror as it relates to the tragedy the Jarrett family is dealing with. Some of these flashbacks play into happier times where both Conrad and Calvin reflect on as if it feels like a fantasy.

Redford also create moments that play into the family unit cracking with such subtlety such as a dinner party that Calvin and Beth attend where the former is talking with someone who asked about Conrad where Calvin was being honest but gracious as Beth overhears him. She would later scold him for talking about something that is private and again late in the film during a holiday vacation with Beth’s brother and wife as it play into many things Calvin starts to see. Even as he would eventually go to Dr. Berger for one session as it opens up into things he never thought about or had been in his mind for so long. The third act isn’t just about Conrad dealing with the pain over the loss of his brother but also Calvin having a revelation about his wife and what had been lost since the death of their eldest son. Overall, Redford crafts a somber yet evocative film about a family coming to terms with loss but also the realization that nothing can be the same ever again.

Cinematographer John Bailey does excellent work with the film‘s cinematography with emphasis on low-key lights and textures for some of the daytime exterior and interior scenes with the usage of lights for the scenes at night including a nighttime session Conrad has with Dr. Berger. Editor Jeff Kanew does brilliant work with the editing as it feature some jump-cuts and stylish flashback montages to play into the drama. Art directors J. Michael Riva and Brook Simons, with set decorators William B. Fosser and Jerry Wunderlich, do fantastic work with the look of the Jarrett home as well as the pool in Conrad‘s high school and Dr. Berger‘s office with its more quaint appliances.

Costume designer Bernie Pollack does nice work with the costumes as it is largely straightforward in terms of the casual look of Conrad as well as the more clean-cut and refined look of Calvin and Beth. Sound editor Kay Rose is terrific for the scenes involving swim meets and parties but also in the quieter moments at home as it play into the tension at home. The film’s music by Marvin Hamlisch is amazing as it is very a low-key orchestral score with some piano that play into the drama as the soundtrack also include a few classical pieces with Johann Pachelbel’s Canon and Gigue in D as the opening and closing music piece of the film.

The casting by Penny Perry is great as it feature some notable small roles from Meg Mundy and Richard Whiting as Conrad’s grandparents, Scott Doebler as Conrad’s late older brother Buck, James B. Sikking as Calvin’s business colleague/friend Ray, Adam Baldwin as a teammate of Conrad in Kevin Stillman whom Conrad doesn’t really like, Fredric Lehne as Conrad’s best friend Joe who is trying to talk to him as he also misses Buck, and M. Emmet Walsh as Conrad’s swim coach Salan as someone who is wondering where Conrad’s head is at for the meets. Dinah Manoff is wonderful as Karen as someone Conrad met at the hospital as they meet to talk about their issues where she claims that she is doing great. Elizabeth McGovern is fantastic as Jeannine as a schoolmate of Conrad who befriends him as she provides some hope and kindness to Conrad. Judd Hirsch is excellent as Dr. Berger as a psychiatrist who is a very sympathetic figure that is trying to understand Conrad as well as not bullshit him about the ways of the world and things that Conrad needs to figure out.

Timothy Hutton is phenomenal as Conrad Jarrett as a young man dealing with survivor’s guilt and a suicide attempt as he tries to return to the world yet he is anguished and lost where Hutton show that sense of despair and loneliness as it is truly a breakthrough performance for the actor in his debut film role. Donald Sutherland is remarkable as Calvin Jarrett as a man trying to understand his son’s withdrawn behavior as well as dealing with the fact that he has some issues to face including his wife’s refusal to talk about some serious issues. Finally, there’s Mary Tyler Moore in a radiant performance as Beth Jarrett as a woman who is either in denial or refusing to face the things around her family in an attempt to try and move on as if nothing had happened as it’s a very eerie performance from Moore who plays a character that is very unlikable but also just as fragile as someone that isn’t ready to face the truth about herself.

Ordinary People is an incredible film from Robert Redford. Featuring a great cast and an entrancing portrait on grief, loss, and denial, it’s a film that explores a family dealing with life after loss and how those can’t face the truth about themselves and what was lost. In the end, Ordinary People is a tremendous film from Robert Redford.

Robert Redford Films: (The Milagro Beanfield War) - (A River Runs Through It) - (Quiz Show) - The Horse Whisperer - (The Legend of Bagger Vance) - (Lions for Lambs) - (The Conspirator) - (The Company You Keep)

© thevoid99 2017

Calvary (2014 film)

Written and directed by John Michael McDonough, Calvary is the story in the week of a life of a priest who starts to feel doubt following a threat from an anonymous man. The film isn’t just an exploration about faith but also doubt where a priest contends with those in his parish mocking its ideas while he is trying to help his troubled daughter who has recovered from a suicide attempt. Starring Brendan Gleeson, Kelly Reilly, Domhnall Gleeson, Chris O’Dowd, Isaach de Bankole, Dylan Moran, and Aidan Gillen. Calvary is a mesmerizing yet riveting film from John Michael McDonough.

Set in an entire week in a small town in Ireland, the film revolves a priest who receives a threat during confession stating that he will be killed on the next Sunday for sins that other priests had done to him when he was a child. The film is a study into a man’s life on what could be his final week as he receives a visit from his daughter who is recovering from a suicide attempt while he does his duty as a priest. Along the way, he deals with locals whom he suspects is the one making this threat while certain events would happen wouldn’t just test his faith but also raise questions about his own duties as a man.

Even as the character of Father James (Brendan Gleeson) is trying to be a good man and do good for others while being aware that he is very flawed. That is part of the brilliance in the film’s screenplay that John Michael McDonough creates where it’s not just a character study but also a mystery where Father James ponders who wants him dead and if he could really help this person. There are also characters who do see Father James help such as a millionaire named Michael Fitzgerald (Dylan Moran) who is going through a crisis of his own despite the fact that he’s an unpleasant man. At the same time, Father James deals with other things in his small town that makes him question his own faith.

McDonough’s direction is very engaging for the way he opens the film with this static shot of Father James listening to a confession from the person who would ruin him for an entire week. It lasts for a few minutes in an entirely unbroken take as it plays into the sense of dread that would loom throughout the film. While it is largely a suspense-drama, McDonough manages to put in a few quirks as it relates to the world that Father James is in as there are characters he encounters who are either good or just those that are immoral. McDonough’s approach to framing with his usage of wide and medium shots, along with close-ups, play into Father James own sense of detachment from what is happening to him as he struggles to find meaning into his role with the world. Especially as it relates to his own daughter Fiona (Kelly Reilly) who is seeking help as she becomes a reason for Father James to do something good as he is also trying to repair their own relationship in what could be his final days. Overall, McDonough creates an intriguing yet compelling drama about a priest’s encounter with doubt.

Cinematographer Larry Smith does excellent work with the film‘s cinematography in capturing not just the Irish landscapes and mountains but also in some of the scenes set at night for some intricate lighting including the interiors at the pubs where many of the characters go to. Editor Chris Gill does nice work with the editing as it is quite straightforward with a few stylish cuts to play into the air of suspense. Production designer Mark Geraghty and art director Fiona Daly do brilliant work with the look of the church that Father James works at as well as some of the places including the pub where most of the characters frequent. Costume designer Eimer Ni Mhaoldomhnaigh does wonderful work with the costumes as it is mostly casual with the exception of the robes that Father James wears.

Visual effects supervisor Sheila Wickens does terrific work with the film‘s minimal visual effects for a dream sequence Father James would have involving his daughter as it plays into the events of what could be his last day. Sound editor Ian Wilson does superb work with the sound to play into the atmosphere of the locations as well as some sound effects for a few key scenes. The film’s music by Patrick Cassidy is amazing for its traditional-based Irish folk music along with some orchestral pieces to play into the drama while music supervisor Liz Gallacher brings in a soundtrack that doesn’t just feature traditional Irish folk music but also rock and blues music that Father James and some of the other characters listen to.

The casting by Jina Jay is fantastic as it features notable small performances from Domhnall Gleeson as a former pupil of Father James who is serving time for murder, Owen Sharp as a young boy named Leo, David McSavage as a bishop whom Father Jay turns to for guidance, Marie-Josee Croze as a Frenchwoman whose husband is critically injured from a car accident who turns to Father James for comfort, Killian Scott as a young man named Milo who is unsure of what to do with his life, Pat Shortt as a gay hustler who is having a thing with Father Leary, David Wilmot as Father James’ fellow priest Father Leary, Gary Lydon as a police inspector, and M. Emmet Walsh in a terrific performance as an American writer who is a friend of Father James. Other noteworthy small roles include Orla O’Rourke as the promiscuous Veronica who sleeps around with the men in the small town and Isaach de Bankole in a superb performance as the mechanic Simon.

Dylan Moran is brilliant as the self-loathing millionaire Michael Fitzgerald who tries to seek help from Father James only to display more of his own sense of hatred towards everything including the ideas of what money couldn’t buy. Aidan Gillen is excellent as an atheist doctor who likes to antagonize Father James with his views on the world in order to disprove the idea that God exists. Chris O’Dowd is amazing as the local butcher Jack who copes with his cheating wife Veronica while dealing with other things in the hopes he can find some answers with his own troubles. Kelly Reilly is remarkable as Father James’ daughter Fiona as a woman who is recovering from a suicide attempt as she seeks to try and repair her relationship with her father while watching him deal with his own sense of doubt. Finally, there’s Brendan Gleeson in a phenomenal performance as Father James as this priest who is dealing with a threat that would haunt him for the course of a week as he deals with doubt and other things that would shake his faith as it’s a very eerie yet powerful performance for Gleeson who is at the top of his game with this role.

Calvary is a sensational film from John Michael McDonough that features an incredible performance from Brendan Gleeson. Not only is it a captivating film about faith and doubt but also an eerie character study where a man whose job is to do good and help those is being shaken by dark forces around him. In the end, Calvary is a marvelous film from John Michael McDonough.

Related: The Guard

© thevoid99 2015

The Jerk

Directed by Carl Reiner and written by Steve Martin, Carl Gottlieb, and Michael Elias, The Jerk is the story of an idiotic white man who was born into a family of black sharecroppers as he is forced to make it on his own where he suddenly becomes rich with a strange adventure. The film is a comedy that the rise and fall of a dimwitted man who has no idea what he’s done. Starring Steve Martin, Bernadette Peters, M. Emmet Walsh, and Jackie Mason. The Jerk is a fun and delightful comedy from Carl Reiner.

Navin R. Johnson (Steve Martin) is a homeless bum who was adopted many years ago by a family of black sharecroppers in Mississippi as he reflects his past in how he realized he’s just a white man living with a black family. Realizing that he needs to leave to find out who he is, Navin goes on an adventure to St. Louis where he adopts a dog he calls Shithead and gets a job and place working at a gas station run by Harry Hartounian (Jackie Mason). One day when dealing with a customer named Stan Fox (Bill Macy), Navin reveals an invention that can help Fox not keep his glasses from slipping as Fox is happy about the invention. Meanwhile, a madman (M. Emmet Walsh) goes after Navin as he chases Navin towards a traveling carnival where Navin gets a new job there as well as girlfriend in an intimidating biker named Patty Bernstein (Catlin Adams).

After meeting a beautiful young woman in Marie (Bernadette Peters), Navin falls in love with her until Patty finds out where she confronts Marie only to get a surprise of her own. Navin and Marie have a courtship until Marie leaves abruptly where Navin has no idea what to do until he gets a message from Fox over the invention Navin made. Suddenly, Navin is rich as he reunites with Marie as they live a lavish life. Yet, it would all change when filmmaker Carl Reiner files a lawsuit against Navin for the invention as it would become Navin’s downfall.

The film is essentially a comical take on the rise-and-fall story as it focuses on a dim-witted white man who was adopted by a black family as he has trouble figuring out who he is until he makes an invention where he becomes rich until something goes wrong. It’s a story that does play to the formula but it is more about this dimwitted man who has no clue about the world outside while he often stumbles his way into fame and fortune. The screenplay does play into these conventions while creating a character that is as silly and as naïve as Navin R. Johnson as he claims to be born as a poor black child. Throughout his journey, he learns about his “special purpose” while falling in love and go through all sorts of trials and tribulations.

Carl Reiner’s direction is definitely off-the-wall in terms of the way he presents comedy as it is partially a road film and an existential comedy of sorts. Shot in all sorts of locations, Reiner makes sure that he finds a way for the comedy to just be loose and natural. Notably as it plays to the way Navin stumbles around in his journey from one part of the world to another. Even as Navin does something that is quite stupid where Reiner always inject something to maintain the film’s humor. While a lot of the technical presentation is straightforward, Reiner does manage to find ways to keep the humor intact as the film becomes more absurd as it progresses right to the end. Overall, Reiner creates a very funny film about the rise and fall of a white man born as a poor black child.

Cinematographer Victor J. Kemper does nice work with the film‘s photography as a lot of it is straightforward including the stylish lights for the disco room at Navin‘s mansion. Editors Bud Molin and Ron Spang do terrific work with the editing by utilizing lots of rhythmic cuts for some of the film‘s crazier moments such as the scenes where Navin writes letters to his family and a hilarious scene involving Navin trying to chase a kid riding a small train. Production designer Jack T. Collis and set decorator Richard C. Goddard do excellent work with some of the set pieces including the scenes at the carnival and at the mansion.

Costume designer Theodora Van Runkle does wonderful work with the costumes from the dresses that Marie wears to the leather-biker clothes of Patty. The sound work of Charles M. Wilborn is superb for some of the film‘s big moments such as Navin dancing to soft music and some of the scenes at the mansion. The film’s music by Jack Elliot is excellent as it is a mixture of all sorts of music from blues, classical, and other pieces to play up the film’s humor while the music features a blues piece in the film’s early moments as well as a great duet between Martin and Peters for the song Tonight, You Belong to Me.

The casting by Gino Havens and Penny Perry is great for the ensemble that is created as it features appearances from Rob Reiner as a truck driver, Carl Reiner as himself, co-writer Carl Gottlieb as the infamous Iron Balls McGinty, Richard Ward and Mabel King as Navin’s parents, and Bill Macy as the investor Stan Fox. Catlin Adams is very funny as the intimidating biker Patty Bernstein while Jackie Mason is superb as the wise yet humorous gas station owner Harry Hartounian. M. Emmet Walsh is excellent as the madman who tries to go after Navin in the most insane ways. Bernadette Peters is wonderful as Marie who falls for Navin as she becomes the one person Navin is willing to share his life with.

Finally, there’s Steve Martin in an outstanding performance as Navin R. Johnson. It’s a film that truly defines Martin as one of the great comedy actors in the way he is able to make an imbecile so likeable while doing things that are noble but in the dumbest of ways. It is a performance by Martin that one just couldn’t stop watching where he does whatever it takes to bring laughter while also showing sensitivity to his performance as he is the heart and soul of this film.

The Jerk is an incredibly hilarious comedy from Carl Reiner featuring a remarkable performance from Steve Martin. The film is definitely one of the most off-the-wall and absurd comedies made in the 1970s while being a great springboard for the career of Steve Martin. It’s also a film that isn’t afraid to be politically incorrect or just be very low-brow. In the end, The Jerk is a marvelous film from Carl Reiner.

Carl Reiner Films: (Enter Laughing) - (The Comic) - (Where’s Poppa?) - (Oh God!) - (The One and Only) - (Dead Men Don’t Wear Plaid) - (The Man with Two Brains) - (All of Me) - (Summer Rental) - (Summer School) - (Bert Rigby, You’re a Fool) - (Sibling Rivalry) - (Fatal Instinct) - (That Old Feeling)

© thevoid99 2013

LAMB Movie of the Month: Blade Runner (1992 Director's Cut)

Originally Written and Posted at Epinions.com on 6/12/05 w/ Additional Edits & Revisions.

Based on a novel by Phillip K. Dick (whom the film was dedicated to), Blade Runner is a stylish, film-noir detective story set in the futuristic 2019 Los Angeles about a retired cop who returns to the scene to eliminate four murderous androids known as replicants. Directed by Ridley Scott and adapted into script by Hampton Fancher, David Peoples, and Darryl Ponicsan, the story is set in traditional film-noir with elements of character studies, conflict, and dark humor that only Ridley Scott can come up with. With a cast that includes Harrison Ford, Rutger Hauer, Sean Young, Daryl Hannah, Edward James Olmos, M. Emmet Walsh, Brion James, and Joanna Cassidy. Blade Runner is a brilliant yet dark film from Ridley Scott.

It's 2019 in Los Angeles where the world is overtaken with many wondering who are the humans and who are the replicants. The latter of which, lives in a colony owned by a corporate head named Tyrell (Joe Turkel) as a new replicant named Leon kills an interrogater named Holden (Morgan Paull) as he escapes with three new replicants. A former blade runner named Rick Deckard (Harrison Ford) is contacted by a replicant named Gaff (Edward James Olmos) where Deckard is asked by his former superior Bryant (M. Emmet Walsh) to hunt down the four escaped replicants. Deckard takes the job as he meets Tyrell and his assistant Rachel (Sean Young) where Tyrell reveals information on the new replicants led by Roy Batty (Rutger Hauer). After asking Rachel some questions to see how the interrogation process happens, Rachel divulges something that adds to Deckard's suspicions.

The four replicants arrive to Los Angeles where Leon and Batty search for the inventor J.F. Sebastian (William Sanderson) while Deckard begins his investigation as he finds one of them in a woman named Zhora (Joanna Cassidy). Deckard later receives a visit from Rachel who asks about her interrogation and the images of her head as she wonders about her true self leaving Deckard confused. While being pursued by Bryant and Gaff, Deckard gains information from Chew (James Hong) about the replicants and what they're after. A young woman named Pris (Daryl Hannah) meets Sebastian as they befriend each other while Deckard finds one of the replicants as Rachel becomes a suspect. With Pris introducing Sebastian to Batty, they reveal what they from Sebastian as Deckard also learns about what Rachel is going through. This would lead to an all-out battle where Deckard has to make choices as he deals with the psychotic Batty.

With a wonderful screenplay that is filled with playful one-liners and stylish subtext, the credit goes to director Ridley Scott for bringing his visual approach to storytelling on the forefront. He brings in a mix of Asian cinema, classic film-noir, and post-modern sci-fi all into a stylish, grand spectacle with bleak settings. In his technical brilliance, Scott's use of slow-motion shots, entrancing camera angles, and eerie settings shows his brilliance to convey moods onto a single frame. Clearly, his inspiration was in film noir since the film is partially inspired by classic detective stories and it shows the brilliant range of Scott. He evens adds a bit of humor to balance out the film, even with the script that has that one famous line, "Wake up, time to die" along with some memorable one-liners.

In the acting, Scott relies on the script as his source and with the script, he helps conveys the tortured soul of Deckard along with a complexity of what he might or might not be. Even the villains, notably Batty has a complexity that isn't stereotypical of villains seen before and since. There's not many themes other than the post-apocalyptic world of human replicants trying to wipe out the human race. It's more about trying to figure out what you are, even if the life span is very short. While the love story of Deckard and Rachael might seem to be added on, it has depth since it's something that Deckard can fall back on, even if the timing is brief.

If Ridley Scott achieves himself on the technical side, many credit goes to his film crew, whom Scott has often relied on. Cinematographer Jordan S. Cronenweth brings a vast outlook with noir-like lighting textures in several interior, night scenes, and the neon lighting helps give the film its Asian, post-modern look. Production designer Lawrence G. Paull and art director David Snyder help bring that vision to life with their use of big screens, Asian architecture in the seedy L.A. world, and that grand, posh look of Tyrell's world as the film remains in its futuristic outlook. Helping out in the visuals is Douglas Trumbull who brings in great special effects for many of the film's visual sequences involving flying cars and the world of Tyrell. With editor Terry Rawlings bringing a nicely-paced feel to the film, the movie doesn't lose sight of its outcome or makes anything boring. Then there's the creepy electronic score of Vangelis who just uses hypnotic textures and atmospheres to bring the future closer to the screen with each note bringing more suspense as the film progresses.

Then you have the amazingly, talented cast that is brought to the film. While Joanna Cassidy and the late Brion James had small, villainous roles, they each do have memorable moments, notably James early in the film and in the scene where he says, "Wake up, time to die". William Sanderson is wonderful in his innocent role as Sebastian with his reclusive stature and childlike approach to the performance while Joe Turkel is excellent in his eccentric, calm performance as the dark creator Tyrell. While Edward James Olmos doesn't have much to do in the film, he is very memorable as the replicant Gaff with his weird smile and even stranger lines, including the final one as he brings some of the dark humor to the film. Noted character actor M. Emmet Walsh is excellent as Deckard's former superior who brings in a bit of sleaze and humor to a very memorable performance. Sean Young is wonderful and complex in her subtle role as Deckard's replicant love interest but it's Daryl Hannah who really stands out in her small role as one of the evil replicants with her girlish innocence and crazy personality where she gets into some intense action.

Rutger Hauer gives a great performance as the villainous yet complex Roy Batty. Hauer uses his charm, wit, and face to give a villain that many will remember while making him more depth-driven than other villains. Hauer makes sure his character isn't just a totally evil man but one who knows what he wants. Even in the final moments of the film, Hauer brings in some of his best acting into the forefront as you can see why he's a cult favorite among film buffs. Harrison Ford delivers one of his best performances as Rick Deckard with a mix of weariness and determination. While he's playing the hero, he makes sure it's one that people can relate to since he has no desire to kill but when he's brought back, it's only with reluctance. Ford doesn't make himself the usual tough guy in some of the fight scene he's in. He's not Han Solo or Indiana Jones but a man that has a lot of problems. Ford makes sure that Deckard is one that an audience can sympathize with while we root for him in his quest to stop the bad guys.

Blade Runner is a visually-exotic yet haunting film from Ridley Scott that features a marvelous performance from Harrison Ford. Along with amazing technical work as well as superb ensemble cast that includes Rutger Hauer, Sean Young, Daryl Hannah, M. Emmet Walsh, and Edward James Olmos. It is truly one of the great sci-fi films ever created due to its visual effects as well as an entrancing story. In the end, Blade Runner is a magnificent sci-fi noir film from Ridley Scott.

Related: Blade Runner 2049

Ridley Scott Films: (The Duellists) - (Alien) - (Legend) - (Someone to Watch Over Me) - (Black Rain) - (Thelma & Louise) - (1492: Conquest of Paradise) - (White Squall) - (G.I. Jane) - (Gladiator) - (Hannibal) - (Black Hawk Down) - (Matchstick Men) - (Kingdom of Heaven) - (A Good Year) - (American Gangster) - (Body of Lies) - (Robin Hood (2010 film)) - Prometheus - (The Counselor) - (Exodus) - The Martian - (Alien: Covenant) - All the Money in the World

© thevoid99 2012

Raising Arizona

Originally Written and Posted at Epinions.com on 11/2/03 w/ Additional Edits & Revisions.

Written, produced, and directed by Joel & Ethan Coen, Raising Arizona is the story of an ex-convict and his cop wife's desire to have a kid only to learn they're unable to. Learning about a set of quintuplets, whose father is a rich furniture entrepeneur, the two decide to kidnap a baby as they deal with all sorts of people including a biker from hell. The film is an indication of the Coen Brothers strange and quirky sense of humor that would be one of their definitive attributes of their career. Starring Nicolas Cage, William Forsythe, Randall "Tex" Cobb, Trey Wilson, Sam McMurray, and future Coen Brothers regulars Frances McDormand, Holly Hunter, John Goodman, and M. Emmet Walsh, Raising Arizona is the first of many great films from the Coen Brothers.

After being busted for robbing a convenience store, H.I. McDunnough (Nicolas Cage) meets a cop named Edwina (Holly Hunter) whom he falls for as he would often see her following his parole and eventual run-ins with the law as the two eventually get married. Leading a quiet life in a suburban trailer park, H.I. works at a metal factory as he and Ed hope to have children until they learn that Ed is unable to have children. After Ed quits her job as a cop due to her mood, she and H.I. learn that local unpainted furniture entrepreneur Nathan Arizona (Trey Wilson) and his wife (Lynne Dunum Kitel) has gained a set of quintuplets. Ed and H.I. decide to kidnap one of them to raise as one of their own as Ed hopes it would help H.I. become more mature.

Meanwhile, two prison buddies of H.I. in Gale (John Goodman) and Evelle Snouts (William Forsythe) had escaped from prison as they crash at H.I. and Ed's home for a few days much to Ed's chagrin. H.I. would later have a nightmare about a biker from hell named Leonard Smalls (Randall "Tex" Cobb) whom H.I. fears will bring trouble as a search for Nathan Jr. is on as Nathan Arizona deals with the FBI. H.I.'s trouble with domestic life is challenged by picnic with his foreman Glen (Sam McMurray) and his wife Dot (Frances McDormand) who brought their kids. When Glen makes a lewd suggestion to H.I. about Ed, H.I. is upset as he later tries to rob a convenience store that leads to more issues with Ed. When the Snouts reveal plans to rob a bank, they want H.I. involved as they also learn that the baby is Nathan Jr. whom they use as collateral.

With Small making a visit to Nathan Arizona about the reward, the Snouts take Nathan Jr. for the robbery which goes fine until something goes wrong as H.I. and Ed try to retrieve Nathan Jr. There, they deal with the evil force that is Leonard Smalls as the couple do everything they can to save the baby.

What makes Raising Arizona a Coen Brothers film is its eccentric tone and energy. Every line and scene is always offbeat somewhat and features some sort of reference of past or future Coen Brothers film including a reference to Sam Raimi's Evil Dead which Joel was an editor in that film. The film's script features hilarious one-liners and stupid jokes while the direction is top-notch in its absurdity, notably the chase scene that is shot wonderfully by cinematographer Barry Sonnefeld along with the fast-paced editing of the Coens Bros.' alias Roderick Jaynes. Even the film's music is quirky, notably the yodeling Western stuff and the suspenseful music of Smalls composed by longtime Coen Brothers collaborator Carter Burwell.

Then there's the inspiring cast of Raising Arizona. Nicolas Cage is amazing as the loser, cartoon-like H.I. who keeps putting out great one-liners and performs amazing physical comedy as he looks like a demented stick figure. Holly Hunter is a joy to watch as she plays a hard-nosed woman who wants everything perfect while she too, pulls a funny scene or two including her confrontation with Smalls. Randal "Tex" Cobb is menacing and downright funny as Smalls who brings fear to the audience, especially when he kills a bunny rabbit, a lizard, and a flower.

The late Trey Wilson is hilarious as Nathan Sr. while Sam McMurray, M. Emmet Walsh as a talkative metal shop worker, and Frances McDormand standout in their respective characters, notably McDormand who was so loud in the film; it's easy to forget that she can be funny. William Forsythe has funny moments as Evelle Snouts while the best performance overall goes to John Goodman as Gale Snouts who just comes up with hilarious lines and of course, the screams which is a must have in a Coen Brothers film. Finally, credit should be given to the 15 babies who played the quintuplets who were so darn cute!

Raising Arizona is a hilarious and very eccentric comedy from the Coen Brothers. The film is among one of their key works as well as a comedy that is truly out there. Notably as it features characters and situation where it strays from convention allowing the film to standout against a lot of the comedies of the time. In the end, Raising Arizona is a fantastic and truly entertaining film from Joel & Ethan Coen.

The Coen Brothers Films: Blood Simple - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn't There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

(C) thevoid99 2012

Blood Simple

Originally Written and Posted at Epinions.com on 11/15/14 w/ Additional Edits.

Blood Simple is the story of a bar owner who suspects about his wife's extramarital affair as he hires a private investigator to kill his wife. Written and directed by by Joel and Ethan Coen, Blood Simple is a dark, fascinating film filled with intrigue and suspenseful moments where everything has a strange tone while laying underneath it is the dark, idiosyncratic humor the Coen Bros. would later be famous for in later films. Starring Joel's future wife & Coen regular Frances McDormand, M. Emmett Walsh, Dan Hedaya, John Getz, Samm-Art Williams, and Deborah Neumann. Blood Simple is a fascinating, abstract film debut from the Coen Bros.

It's a dark night in Texas as a woman named Abby (Frances McDormand) and her lover Ray (John Getz) are driving through a dark night on the road where they suspect they're being followed. After a stop at a hotel, Ray gets a mysterious call where he thinks it's Abby's husband Marty (Dan Hedaya), a bar owner who Ray works for. With Marty staying in the bar watching everything while being controlled by lead bartender Meurice (Samm-Art Williams), he quietly has a meeting with a private investigator named Visser (M. Emmett Walsh), who shows him pictures of Abby with Ray. Marty is surprised that it was Ray and not some other punk. Later that night, Ray appears to Marty asking for some owed money while Marty refuses to pay him since he knew what was going on. Marty asks Meurice, who was talking to his friend Debra (Deborah Neumann) to watch out for Ray.

The next morning while Abby stayed at Ray's home, she sees the family dog where she is confronted by Marty where she breaks his finger and kicks him in the balls. Ray follows, as Marty knew that trouble was going to happen where he turns to Visser. Talking to Visser in his Volkswagen, he asks him to kill his wife and Ray for a huge sum of money while he's going out of town to fish at Corpus Christi. Abby meanwhile looks for a new apartment and asks Meurice to watch out for Ray and Marty in case things get into trouble. While Abby stays at Ray's for a night, quietly coming into Ray's house was Visser. The next day, Visser calls Marty about the job and says it's done where Marty returns later that night and sees some pictures. Visser notices the large amount of money where suddenly, a double-cross ensues.

Ray appears quietly after Visser had left to find what happened where he found Marty's body and tries to clean things up quietly so Meurice wouldn't hear. Ray takes Marty to his car and notices that he's still alive where he tries to kill him but not in front of witness where he buries him alive in the middle of a farm in Texas. The next morning, he calls Abby to tell her that he loves her and everything becomes more and more complicated. Noticing that his lighter is missing, Visser notices what happens in the scene and decides to go find Ray and Abby for his own reasons while Ray becomes paranoid that Marty could be alive after Meurice got a call from him. Abby goes to Meurice for help where everything becomes complicated as she wonders what has just happened, who killed whom and is Marty really alive and what are Visser's intentions?

While Blood Simple is more of a tribute to the film noir of the past, the film is really a reinvention of the film noir thanks to the quirky mind of the Coen Bros. With the directing of the film in tact, the film has some wonderful tracking shots that move very fast while giving out some stunning camera work in scenes involving a fan as the cast watch the fan move slowly as it zooms in very slowly. If the film's eerily directing style is seductive to watch, what's more amazing is the screenplay by the Coens where everything is straightforward but there's a suspense and momentum that is build up while its structure starts out as one thing but by the film's second half, it becomes more intriguing to watch and you're not sure what's going to happen and there's some moments that are very surreal as the Coens become one of the most innovative and brilliant writers in independent cinema at that time.

Helping out with the visual trickery of the film is cinematographer and future filmmaker Barry Sonnenfeld who brings a lush, ominous look to the film with its blue filters in some of the night scenes while the road scenes are even more creepy to look at. Sonnenfeld, like latter-day Coens cinematographer Roger Deakins, is a master at visual manipulation since the film plays up to its evocatively moody tone. With the fast-paced editing done by the Coens under their Roderick Jaynes moniker along with Don Weigmann that helps enhance the intensity of the movie.

With production designer Jane Musky help capturing the Texan look of the film for its comical and dark layers; the film looks great in its dark tone, even in its strange setting in Texas. Then there's dark, melancholic score of longtime Coens composer Carter Burwell who brings elements of stark piano notes and ominous textures to the film's moody world while idiosyncratic use of the song It's The Same Old Song by the Four Tops brings some comical relief to the movie.

Then you have the film's small but memorable cast that also included future Coens regular Holly Hunter in a voice cameo in one scene as she was originally slated to play Abby but gave it to roommate Frances McDormand since Hunter was doing a play at the time. Deborah Neumann is excellent in her one scene with Samm-Art Williams about the Ring of Fire that brings some strange, quirky humor that is a trademark of the Coens while Williams is memorable as the eye of the bar while standing out with his white Converse and playing the Four Tops in a country bar.

Dan Hedaya is wonderful as the bloodthirsty Marty with his brooding features and tone while he doesn't play the stereotype of an angry husband since he knows his place and his own reasons for why he drove Abby into having an affair. John Getz is excellent as well in his role as Ray for his quiet, confrontational performance, notably his scenes with Hedaya are filled with great dynamics while he has great chemistry with McDormand as Getz plays a role that is excellent despite being typecast later on in sleazier boyfriend roles in his career.

M. Emmett Walsh is the film's best male performance for his dark, complex performance since he serves as black heart and soul with his penchant for greed and sleaziness. Walsh brings a lot of dark humor to the film while his intentions remain very hidden while he comes up with the best lines. Walsh is wonderfully amazing as this role as Visser is one of his best performances. Frances McDormand truly delivers a breakthrough performance as the cheating wife Abby with her concerned face and complex innocence where we understand why she despises Marty while becoming more confused later on about Ray while becoming more of an innocent pawn in a game. McDormand makes the character grow from a scared, cheating wife to a brave woman seeking her own independence.

Blood Simple is a great debut from the Coen Brothers highlighted by the performances of M. Emmett Walsh and Frances McDormand. Thanks to its dark, moody tone and noir-like style in its camera work, music, and structure, Blood Simple is a film that reinvents the film noir while being one of the great debut films ever made by any filmmaker. In the end, Blood Simple is a chilling yet entrancing film from Joel & Ethan Coen.

Coen Brothers Films: Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn't There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

A Simple Noodle Story

(C) thevoid99 2012