The Ballad of Buster Scruggs

Written, produced, edited, and directed by Joel and Ethan Coen, The Ballad of Buster Scruggs is a collection of stories set in the American West as it play into the many adventures of misadventures of people in the West. The film is an anthology film of sorts that play into six different stories relating to the West. Starring Tim Blake Nelson, Tyne Daly, James Franco, Tom Waits, Zoe Kazan, Harry Melling, Liam Neeson, and Brendan Gleeson. The Ballad of Buster Scruggs is a majestic yet whimsical film from the Coen Brothers.

Set in the American West, the film follow six different stories in the American West as it all relates to the themes of death as well as people’s encounter with it. All of which is told in a book about these tales of the West and these characters as they encounter with some idea of death. In The Ballad of Buster Scruggs, a cowboy arrives into town singing songs as he also disposes challengers through gunfights while also commenting about the ideas of humanity where he meets a new challenger. Near Algodones is about a bank robber is attacked by the bank’s clerk where pots and pans where he’s later knocked out and captured by a mysterious man in black only for the day to get weirder following an attack by the Comanche, an encounter with a drover, and all sorts of bad shit in one strange day. Meal Ticket revolves around an impresario travels through the cold West with his performer in a young legless/armless artist who recites poetry, stories, and other texts where they endure a declining audience and lack of money prompting the impresario to find a new act.

All Gold Canyon, that is based on a story by Jack London, is about a prospector arrives on a mountain valley to find gold as he dwells into the land to find gold where he makes a discovery but also another one that is far more deadly. In The Gal Who Got Rattled that is inspired by story by Stewart Edward White, a young woman is on the Oregon Trail with her dim-witted older brother who dies suddenly of cholera where she befriends a train leader who is sympathetic to her plight as he thinks about having a future with her once the trail ends. The Mortal Remains is about five different people traveling on a stagecoach as tension arises during the journey as they all tell their own views while dealing with the fact that there’s a dead body on top of the stagecoach as some wonder why. These six different stories play into themes that play into the danger and uncertainty of the West as well as the realities of a world that is ever-changing.

The direction of the Coen Brothers definitely owe a lot to Westerns of the past but also provide their own visual language in the film as it relates to the presentation of the different stories in the film. Each story opens with a picture in the book and closes with the last page of that story as it’s told through a book as it would then cut to a landscape as many of the film’s locations are shot in the Nebraskan Panhandle, New Mexico, and Telluride in Colorado. The Coen Brothers’ direction would have these gorgeous wide shots of certain locations where they also create these striking compositions that add to the beauty whether it’s a shot of a man about to be hanged or a certain location in the valley. While there are comical elements in these stories with the titular story being the most comical of them all as it’s partially a musical. The rest range into elements of dark comedy as it relates to the theme of death as it play into the sense of melancholia and changing times of the West that is evident in stories such as Meal Ticket and The Gal Who Got Rattled as the former is largely dramatic and minimalist in its story while the latter is more about this uncertainty on the Oregon Trail.

Serving as editors under the Roderick Jaynes pseudonym, the Coen Brothers’ approach to the editing help add to not just the drama but also humor with its usage of jump-cuts and dissolves along with rhythmic cuts in certain aspects of the film. Most particularly in All Gold Canyon where the prospector (Tom Waits) is digging holes trying to find gold along with the montage of the artist in Harrison (Harry Melling) reciting famous texts to the growing declining audience in Meal Ticket. The usage of close-ups and medium shots are evident in The Mortal Remains as it is shot largely inside the stagecoach to play into the dramatic tension as well as the sense of intrigue of where the five passengers are going. It is the Coen Brothers playing into the dangers of the American West as they definitely show violent moments that are graphic as it add to the specter of death. Overall, the Coen Brothers craft an evocative yet offbeat film about six strange tales in the American West.

Cinematographer Bruno Delbonnel does brilliant work with the film’s cinematography with its usage of natural lighting for some of the exteriors in the daytime along with the usage of tints and filters for some interior scenes along with shots set at night or in the evening as it’s a highlight of the film. Production designer Jess Gonchor, with set decorator Nancy Haigh plus art directors Steve Christensen and Chris Farmer, does amazing work with the look of the buildings that some of the characters go to including the saloons as well as the stagecoach and wagons for some parts of the film. Costume designer Mary Zophres does fantastic work with the costumes as it play into the period of the times from the shiny look of the titular character to the rougher and ragged look of other cowboys as it’s a highlight of the film.

Makeup effects supervisor Robin Myriah Hatcher does terrific work with the look of the characters with the artist being the most notable as well as a few passengers on the stagecoach. Visual effects supervisors Michael Huber and Alex Lemke do excellent work with the visual effects where it does do bits of set-dressing in some parts while doing its best work on the look of the artist. Sound editors Craig Berkey and Skip Lievsay do superb work with the sound as it help play into the atmosphere of the locations as well as how gunfire and such sounds during a few gun battles in the film. The film’s music by Carter Burwell is incredible for its rich and bombastic musical score that feature some flourishing string arrangements along with elements of folk and country music to play into the air of the times.

The casting by Ellen Chenoweth is wonderful as it feature some notable small roles and appearances from E.E. Bell as a piano saloon player, Tom Proctor as a Cantina bad man, and David Krumholtz as a saloon Frenchman in the titular segment while Jesse Luken as the drover and Ralph Ineson as the Man in Black are terrific in their brief appearances in Near Algodones. In the titular opening segment, the performances of Clancy Brown as the gambler Curly Joe, Willie Watson as a young gunslinger, and Tim Blake Nelson as the titular character are great with Nelson being a jovial and engaging individual who sings about his exploits while being a great gunslinger. In Near Algodones, Stephen Root is fantastic as the bank teller who is more than prepared for a bank robbery while James Franco is superb as the robber who finds himself in dangerous situations. Liam Neeson and Harry Melling are incredible in their respective roles as the impresario and the artist named Harrison in the Meal Ticket segment with Neeson being largely silent as a man trying to make money while Melling displays a charisma through the things he says.

Tom Waits is brilliant as the prospector trying to find gold in All Gold Canyon while Sam Dillon is wonderful in his small role as a young man trying to rob the prospector. In The Girl Who Got Rattled, the performances of Zoe Kazan as Alice Longabaugh, Bill Heck as Billy Knapp, and Grainger Haines as Mr. Arthur are amazing with Kazan being the major standout as a young woman coping with her situation while there’s notable small roles from Jefferson Mays as Alice’s brother Gilbert and Ethan Dubin as Matt who is trying to cheat Alice. In The Mortal Remains, the performances of Tyne Daly as the devout Christian woman, Saul Rubinek as the Frenchman, Chelcie Ross as trapper, Jonjo O’Neill as the Englishman, and Brendan Gleeson as the Irishman all sitting at the stagecoach are excellent to play into the tension and differences of these individuals as they deal with the journey ahead and their destination as well as the reality of their environment.

The Ballad of Buster Scruggs is a sensational film from Joel and Ethan Coen. Featuring a great ensemble cast, compelling stories on death and the unexpected elements of life, gorgeous cinematography, and an incredible music score and soundtrack. It’s a film that is an unusual yet engaging anthology film of sorts set in the American West that play into all sorts of situations and stories that all relate to uncertainty in those times. In the end, The Ballad of Buster Scruggs is a phenomenal film from Joel and Ethan Coen.

Coen Brothers Films: Blood Simple - 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 - Paris Je T'aime-Tulieres -To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit - Inside Llewyn Davis - Hail, Caesar!

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

© thevoid99 2018

Get Out

Written and directed by Jordan Peele, Get Out is the story of young African-American who is in an interracial relationship with a white woman where she takes him to her family home where he makes an awful discovery. The film is a horror film set in a quaint American suburb where a young man realizes what is going on as it relates to the world of white liberals and their ideas of race. Starring Daniel Kaluuya, Allison Williams, Bradley Whitford, Caleb Landry Jones, Stephen Root, Lakeith Stanfield, and Catherine Keener. Get Out is a thrilling and horrifying film from Jordan Peele.

The film follows an African-American photographer who reluctantly agrees with his white girlfriend to visit her family at their countryside home where he learns that the family’s African-American maid and groundskeeper act very strangely as is an African-American guest at an annual party. It’s a film that explore the idea of a world where a young man is about to go into a world that he isn’t sure would be receptive in as he arrives to this small countryside town where it is the opposite where he’s welcomed. Jordan Peele’s screenplay showcases why Chris Washington (Daniel Kaluuya) is reluctant to meet this family but he is calm by the reception he’s given though he notices a lot of odd things at the house where his girlfriend Rose Armitage (Allison Williams) lives with her family that consists of her neurosurgeon father Dean (Bradley Whitford), her psychiatrist-hypnotist mother Missy (Catherine Keener), and younger brother Jeremy (Caleb Landry Jones).

Dean and Missy may seem welcoming towards Chris as they both offer to help him quit smoking yet Jeremy is a little leery towards Chris. Jeremy doesn’t surprise Chris but it’s the housemaid Georgina (Betty Gabriel) and groundskeeper Walter (Marcus Henderson) who both sport these strange smiles just make Chris uneasy. When Missy converses with Chris, things take a weird turn as it relates to a tragedy in Chris’ life as it lead to moments that become offbeat to the guests Chris meets at this annual gathering Dean and Missy have every year. Notably as they’re largely white with the exception of an Asian and an African-American man named Logan (Lakeith Stanfield) who also acts odd as he’s in a relationship with a white woman 30 years older than him. The odd atmosphere and people Chris meets would have him asking many questions as it would lead to something darker prompting his best friend in TSA agent Rod Williams (Lil Rel Howery) to make some chilling discoveries of his own.

Peele’s direction does have elements of styles in terms of the camera movements he creates as well as the element of surrealism that looms throughout the film. Especially in the opening sequence in which an African-American is at a suburb calling a friend telling him about some fucked-up shit as he notices a white car is driving nearby and some weird shit happened. Though the film is set at upstate New York with a few shots set in New York City, much of the film is shot on location in Fairhope, Alabama and the city of Mobile, Alabama as it play into this idea of an idyllic countryside home near the suburbs in an autumn setting. Peele’s usage of the wide shots play into the vast scope of the exterior of the house while he would use some dolly-tracking shots for some unique medium shots to get a look at the interiors of the house. It would play into something that is idyllic but there is still something off as Peele’s approach to the humor is restrained while the drama is also low-key and straightforward. The second act in which the annual party with all of these guests is definitely an intriguing sequence. Notably in that restrained approach to humor where there’s subtleties into what these guests are saying.

When a moment at the party becomes chilling, it does create that sense of intrigue that Chris is dealing with as it confirms that something has been off the moment he and Rose accidentally hit a deer on their way to Rose’s family home. Peele’s direction would leave behind small clues such as a door that’s left ajar in Rose’s room as well as the behavior of the housemaid and groundskeeper whenever they approach him. The film’s third act is definitely a horror film but not in a gory nor in a conventional sense in comparison with modern horror. Instead, Peele takes his time to let things unfold while balancing that with some humor involving Rod’s own discovery and his need to seek out help. It all play into these ideas of social classes and race relations where Chris is aware of the way things are but never would realize how far some people would go to ensure African-Americans’ place into 21st Century society. Overall, Peele crafts a very witty yet harrowing film about an African-American’s visit to his white girlfriend’s family home where it’s not what it seems.

Cinematographer Toby Oliver does excellent work with the film’s cinematography from the natural and colorful look of the daytime exterior scenes to the usage of low-key lights for the exterior scenes at night as well as other lighting schemes to play into the suspense and horror. Editor Gregory Plotkins does brilliant work with the editing as it doesn’t devolve into conventional horror editing techniques as it plays more into building up the suspense with its stylish edits while using some inventive montages to help play into the suspense and surrealism. Production designer Rusty Smith, with set decorator Leonard R. Spiers and art director Chris Craine, does fantastic work with the look of the Armitage family home as well as some of its rooms and the apartment that Chris lives with Rose where Rod is watching Chris’ dog. Costume designer Nadine Haders does terrific work with the costumes as it is quite straightforward with the exception of the posh clothes of the party guests as well as the clothes that Logan wears.

The visual effects work of Paul Baran does superb work with the visual effects as it is largely minimalist for the deer-hitting scene as well as these surreal sequences whenever Chris is under a state of hypnosis where he’s in this strange world. Sound editor Trevor Gates does amazing work with the sound as it play into the atmosphere of the party as well as the way Missy would stir her teacup with a spoon as it adds a lot to the sound design as it is one of the film’s highlights. The film’s music by Michael Abels is incredible for its mixture of low-key orchestral music mixed in with some Swahili-inspired chants that include bits of blues to play into the suspense and horror while music supervisor Christopher Mollere provides a fun soundtrack that mixes pop and hip-hop as it features cuts by Childish Gambino, Flanagan and Allen, and Bill Medley and Jennifer Warnes.

The casting by Terri Taylor is great as it feature some notable small roles and appearances from Richard Herd as Dean’s father, Erika Alexander as a detective that Rod goes to in the third act, Marcus Alexander as the groundskeeper Walter, Betty Gabriel as the housemaid Georgina, Lakeith Stanfield as the odd yet young African-American guest Logan, and Stephen Root in a superb small role as a blind art gallery dealer in Jim Hudson who is interested in Chris’ photos. Lil Rel Howery is fantastic as Chris’ friend Rod as a TSA agent who house-sits Chris’ apartment and his dog where he would get calls from Chris about the trip as he notices something is off when he doesn’t get any calls prompting him to start his own investigation. Caleb Landry Jones is terrific as Rose’s younger brother Jeremy as a young man that doesn’t seem fond of Chris as he wants to practice jujitsu moves on him while being too eager to play into the scheme that is unveiled in the third act.

Bradley Whitford is excellent as Dean Armitage as Rose’s father and a revered neurosurgeon who is warm to Chris while being very odd in the way he approaches or converses with Chris. Catherine Keener is brilliant as Missy Armitage as Rose’s psychiatrist/hypnotist who is also warm to Chris as she is intrigue into the tragedy of his life as she would use it as a tool to get him hypnotized. Allison Williams is amazing as Rose Armitage as Chris’ girlfriend as this young woman who epitomizes kindness and free-thinking as she understands Chris’ reluctance to meet her parents while there is something off about her when she’s at her parents’ home where she adds a layer of creepiness to her performance. Finally, there’s Daniel Kaluuya in a remarkable performance as Chris Washington as an African-American photographer who gets invited to meet his girlfriend’s parents as he tries to remain calm and collective but notices something isn’t right as it’s a very restrained performance from Kaluuya that would eventually become more chilling as the film progresses.

Get Out is a tremendous film from Jordan Peele. Featuring a great ensemble cast, an eerie music soundtrack, themes on race and social classes, and an inventive and witty script that is willing to create discussion. It’s a film that is definitely explores the ideas of racism in a modern context and how people perceive others who are different as well as what they want to do in a modern world. In the end, Get Out is a phenomenal film from Jordan Peele.

Jordan Peele Films: Us (2019 film) - Nope

© thevoid99 2017

Hello, My Name is Doris

Directed by Michael Showalter and written by Showalter and Laura Terruso that is based on two short films by Terruso, Hello, My Name is Doris is the story of a woman in her 60s who falls for a much-younger co-worker as she tries to woo him as well as become independent from her family and older friends. The film is an exploration of a woman trying to put some spark in her life as she goes after a man who is young enough to be her grandson. Starring Sally Field, Max Greenfield, Tyne Daly, Beth Behrs, Natasha Lyonne, Stephen Root, Elizabeth Reaser, and Wendi McLendon-Covey. Hello, My Name is Doris is a delightful and charming film from Michael Showalter.

The film follows a shy and eccentric woman whose mother had just died as she falls for a new and much-younger co-worker in his 20s as she tries to figure out how to get his attention. It’s a film that explores a woman who is given a new jolt in life through this young man as she tries to understand what he likes and what he does while she is coping with the loss of her mother as well as being known as a hoarder of things she finds and brings to her home. The film’s screenplay by Michael Showalter and Laura Terruso shows the world that Doris (Sally Field) is in as someone who has collected so many things at her home as she wears quirky yet colorful clothes, sports a weave, and sometimes wears two glasses to read things. Yet, Doris lives alone despite the offer from her younger brother Todd (Stephen Root) to live at his home with his wife Cynthia (Wendi McLendon-Covey) and their two kids as well as sell the house.

Doris refuses as she spends much of her time with longtime friend Roz (Tyne Daly) who has spent much of her time raising her 13-year old granddaughter Vivian (Isabelle Acres) since her daughter is in prison awaiting a parole hearing. When Doris meets this young man in John Fremont (Max Greenfield), she falls head over heels for him as she turns to Vivian for help on things about him as well as creating a fake Facebook account and getting advice from a self-help guru. Learning about what music he likes and other interests, she does whatever he can to get to know him and be with him as there are these moments of fantasy into what Doris would see life with John is like yet she would have to contend with reality. Not only for the fact that she’s in her 60s and John is in his 20s but also other realities that include reasons into why she’s a hoarder and how this pursuit of John has alienated friends and family.

Michael Showalter’s direction is very straightforward as it opens with the funeral of Doris and Todd’s mother as it play into how odd Doris is in the way she looks as well as how she’s coping with the loss. Shot largely in Los Angeles though many of the exteriors are shot in New York City where the film is set, Showalter mainly goes for intimate compositions with the usage of medium shots and close-ups while exploring the world of modern-day New York City youth culture such as indie music, EDM, and other places that hipsters are known to frequent at. There are moments in the film where Showalter would create these moments of fantasy as it relates to Doris’ reaction towards John as it is playful. There are also moments in the film that showcase the humor very naturally such as the scene where Doris is eating dinner at Todd’s home where she’s wearing odd clothes because she’s about to attend a EDM concert with John later in the night. It’s among these weird moments that has Doris be part of a world she has no clue of what it’s about yet they would include her as they think she’s really cool. The film’s tone does change in the third act as it relates to not just the reality that Doris is facing about herself but also John and his own life as it’s filled with things that she doesn’t really know about him or what he wants in his life. Overall, Showalter crafts a charming and heartfelt film about a woman in her 60s who falls for a man in his 20s.

Cinematographer Brian Burgoyne does excellent work with the film’s cinematography as much of it is straightforward with the exception of the neon lights for the scenes at the EDM concert. Editor Robert Nassau does nice work with the editing as it is straightforward for much of the film with the exception of a few scenes such as Doris’ fantasies and a montage sequence of her dressing for a party. Production designer Melanie Jones, with art directors Catherine Devaney and Eve McCarney plus set decorator Karuna Karmarkar, does fantastic work with the look of the office floor that Doris and John work at as well as her home that is filled with all of these antiques and stuff she’s found over the years.

Costume designer Rebecca Gregg does brilliant work with the costumes from the colorful and offbeat clothes that Doris wears throughout the film as it adds so much to her character with everyone else being straightforward. Sound editor Tom Paul does terrific work with the sound as it is straightforward with the exception of the concert scene. The film’s music by Brian H. Kim is wonderful for its low-key score of soft orchestral and jazz-like pieces while music supervisor Andrew Gowan creates a fun soundtrack that features a mixture of EDM music and pop music to play into the different world and musical tastes of John and Doris.

The casting by Sunday Boling and Meg Morman is great as it feature some notable small roles and appearances from Jack Antonoff of Fun as the singer of the EDM band that John and Doris sees, Rebecca Wisocky as Doris’ boss, Kyle Mooney as band photographer, Rich Sommer as a young co-worker of Doris in Robert, Kumail Nanjiani as another young co-worker of Doris in Nasir, Natasha Lyonne as a co-worker of Doris in Sally, Don Stark as John’s uncle Frank who tries to flirt with Doris at a party, Isabelle Acres as Roz’s granddaughter Vivian who helps Doris know more about John, Caroline Aaron as a friend of Doris and Roz in Val, and Peter Gallagher in a terrific small role as the self-help guru Willy Williams. Beth Behrs is superb as a young woman named Brooklyn who is often seen with Jack during the film’s second-half while Elizabeth Reaser is fantastic as Doris’ psychiatrist Dr. Edwards as a woman that is trying to understand Doris as well as see the things in Doris’ home. Wendi McLendon-Covey is wonderful as Todd’s wife Cynthia who is always critical of what Doris has in her home as she would unknowingly push Doris’ buttons while Stephen Root is excellent as Doris’ brother Todd who is just trying to help her as well as express his own issues with her as it relates to their mother.

Tyne Daly is amazing as Roz as Doris’ longtime friend who is still dealing with the loss of her husband many years ago as she becomes baffled by Doris’ strange behavior as well as having to accept the fact that she is getting old. Max Greenfield is brilliant as John Fremont as a young man in his 20s who becomes a new superior for Doris as he is curious yet welcoming towards Doris’ presence as he admits to the difficulties he’s having in his life at work and in his personal life. Finally, there’s Sally Field in a spectacular performance as Doris as this woman in her 60s who falls for this young man as she tries to get his attention as it’s this incredible mixture of comedy and drama where Field just exudes this air of awkwardness and physicality to her performance as it’s really a master at work making it one of Field’s defining performances.

Hello, My Name is Doris is a remarkable film from Michael Showalter that features a phenomenal performance from Sally Field. Along with its ensemble cast, themes on aging and exploring new worlds, and moments that are funny and endearing. It’s a film that manages to be not just entertaining but also give audiences something full of heart in this exploration of a woman trying to nab a man that is much younger than her. In the end, Hello, My Name is Doris is a sensational film from Michael Showalter.

Michael Showalter Films: (The Baxter) – (The Big Sick) – (The Lovebirds (2020 film)) - The Eyes of Tammy Faye (2021 film) - (Spoiler Alert)

© thevoid99 2017

Idiocracy

Originally Written and Posted at Epinions.com on 9/26/07 w/ Additional Edits & Revisions.

Directed by Mike Judge and written by Judge and Etan Cohen, Idiocracy tells the story of an Army serviceman and a prostitute who both take part in an army experiment where more than 500 years later, they arrive to see that their world has become dumber as the man finds himself to be the smartest person alive. A satire about culture and the de-evolution of the world, Judge's sophomore feature film shows his knack for humor as well as the wittiness of his debut feature. Starring Luke Wilson, Maya Rudolph, Dax Shepard, Terry Crews, Justin Long, and featuring appearances from Judge associates Stephen Root and David Herman. Idiocracy is a witty satire on the world that is ravaged by stupidity.

The film is a satirical comedy set 500 years from the present time where the world has gone completely stupid where an Army serviceman named Joe (Luke Wilson) and a hooker named Rita (Maya Rudolph) are both awaken from a top-secret Army experiment where they supposed to be frozen for a year inside two pods. Instead, a series of unfortunate circumstances has Joe and Rita be the smartest people on Earth as the English language has deteriorated into a mixture of hillbilly, slang, valley girl, and grunts while the world drinks a drink known as Brawndo that claims to have electrolytes. For Joe, he must use his average knowledge to save the world from further stupidity where he would encounter things such as TV shows like Ow! My Balls!, a film called Ass, all brought to you by Carl Jr.'s, Buttfuckers with its big-ass fries, and all sorts of dumb shit.

Mike Judge's concept of the world gone stupid is definitely an ambitious one in comparison to his debut film Office Space. Yet, the story about an average man finding himself in a world where he's the smartest man alive is definitely one that is both downright hilarious and shocking at the same time. The comedy that includes some extremely funny, lowbrow dialogue where people would say "I like money", "Shut up! I'm 'batin", 'You talk like a fag", and "I like money" in a drawl that can be described in a hybrid of Hillbilly, Valley Girl, inner-city slang, and grunts. Another factor that is funny is how corporations are handled where a Costco would end up taking an entire city or Starbucks offering hand-jobs along with other places. Plus, Carl's Jr. would have a slogan that says "Fuck you, I'm eating" and Fuddruckers' had its named changed to Buttfuckers.

The result is a highly original yet funny vision of the future. What's more shocking is that it's also true in some ways. The script that Judge and Etan Cohen creates is filled with hilarious scenes and such yet underneath it is some social commentary on pop culture and people's obsession with it. Now, there's nothing necessarily wrong with watching a guy getting kicked in the nuts or watching a bare-naked ass farting. The problem is that it gets old after a few minutes. Not to the people in this film where the #1 grossing movie for the past few years that also one several Oscars is a movie called Ass. 90 minutes of a bare-naked butt farting maybe funny to some but for someone that has intelligence might find it funny for a while but not for the rest of the film.

Judge's direction of dystopian with CGI-imagery of a town gone horribly bad. Architecture looking very messed up, mountains of trash, and the Washington monument looking very slanted. His vision of the future is actually horrifying to watch because it might actually come true. What happen to the scientists in that film? Well, they end up looking for the cure of hair loss and such. The idea of de-evolution through Judge's camera is very haunting as is the narration by Earl Mann is to remind the audience of how dumb the world has become. Even mentioning that Brawndo has ended up replacing all the food groups and such.

Despite the film's high concept and commentary, it is flawed due to a few pacing issues when things aren't being funny. Plus, some of the humor isn't as good as Office Space but what Judge does is truly original. Especially since his dystopian vision is starting to come true unfortunately. Even with pop culture. Today, people have no idea who Ingmar Bergman, Marcel Marceau, Robert Altman, Andy Warhol, or even Afrikka Bambatta (he's still alive as of 2014) are or what have they done. Hell, it's amazing that ten years ago, some movies have gotten dumber by the minute.

Instead of people going to see a movie like Grindhouse or maybe something intellectual as Talk to Me, they go see something as dumb as Wild Hogs or Are We Done Yet? Plus, how have we gone from Smells Like Teen Spirit to My Humps? There's a line that Rita says about Albert Einstein, "Do you think Einstein thought the whole world was full of dumb shits?" Joe replies, "Maybe that's why he build the atomic bomb". This is what Judge seems to say about intellectuals and their stance on the world and sadly, it's starting to come true.

Cinematographer Tim Suhrstedt brings a grainy yet saturated look to the film's cinematography to convey the bleakness of the film with its dark, shady colors and sepia imagery. Production designer Darren Gilford and art director William Ladd Skinner do amazing work in some of the film's set designs with dirty-looking buildings and places covered in trash. Costume designer Debra McGuire's futuristic clothing is inspiring and also cheesy with everyone wearing shiny-like t-shirts and baggy pants where the future has also lost it sense of fashion. Editor David Rennie brings a nice, intense look to the film including some of the dramatic reactions to the film's dystopian tone. Sound editor Michael J. Benavente also plays to the atmosphere in bringing noise of explosions and grunts that work very well. Visual effects supervisor Kent Johnson's look of the future is amazing, even a shot of a bridge that's already broken and such. Composer Theodore Shapiro brings a score that's dominated by country-like acoustic guitar to play up the film's humor as well as a mix of music featuring metal and reggae.

The film's cast is unique in playing up to the film's comedy. Small appearances from director Mike Judge as the Army officer Collins, Bottle Rocket's Robert Musgrave as an Army sergeant, rapper Scarface as Rita's pimp Upgrayed, Sara Rue as a bimbo attorney general, Danny Cochran as the idiotic Secretary of Education, and in the roles of the unfortunate yuppie couple in the film's intro, Darlene Hunt and Patrick Fischler are funny. Cameo appearances from Stephen Root, David Herman, Thomas Haden Church, and Justin Long are very funny along with Luke's older brother Andrew in a great cameo as the flame-throwing gladiator Beef Supreme. In the role of the U.S. president, Terry Crews gives a hilarious, energetic performance as President Camacho with his long, heavy-metal wig and exuberance that makes him one of the most overlooked comedy actors.

Dax Shepard is extremely funny as the dim-witted lawyer Frito Pendejo. His last name in Spanish means stupid, which is even funnier. With his hillbilly accent, Shepard makes every moment worth laughing about in how he responds to situations, talk, and all sorts of hijinks. He along with Crews are some of the film's best supporting performances. Maya Rudolph is also funny in her role as Rita, a hooker who finds her old job becoming too easy while becoming aware that she too, is smarter than everyone except Joe. Rudolph does great supporting work as she becomes the only person that Joe can really talk to. Luke Wilson is great in his role as Joe, an average guy who is thrust into a situation as he ends up being the smartest man alive. Wilson's mix of subtle humor and drama proved to be the right tone as his remains one of the most overlooked performances of 2006.

While not as strong or as funny as Mike Judge's debut film Office Space, Idiocracy is still one of the funniest and smartest comedies of 2006 thanks to some great performances from Luke Wilson, Maya Rudolph, Dax Shepard, and Terry Crews along with Judge's high-concept. Fans of Judge's work will no doubt enjoy the film's humor and satire but for a general audience. It might seem too much or rather from their point of view, "very pompous & faggy". Intellectuals might think the film isn't serious enough or rather way too serious yet it's a film that is a mirror in the ways of how people have been dumbed down lately by pop culture such. In the end, Idiocracy is a must-see for anyone who wants smart satire that is also downright hilarious.

Mike Judge Films: (Beavis & Butt-Head Do America) - (Office Space) - (Extract)

© thevoid99 2014

Rango

Directed by Gore Verbinski and screenplay by John Logan from a story by Verbinski, Logan, and James Ward Byrkit, Rango is about a pet chameleon who finds himself in a desert town where he becomes an unlikely sheriff to fight off villains. The animated film is a modern-day approach to the western as it features various film references while making it accessible for a wider audience. With a voice cast led by Johnny Depp, Isla Fisher, Abigail Breslin, Ned Beatty, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, and Timothy Olyphant. Rango is a stylish and very entertaining animated-western from Gore Verbinski.

An unnamed pet chameleon (Johnny Depp) gets stranded somewhere in the middle of the desert where he meets a wounded armadillo named Roadkill (Alfred Molina) who is trying to find the mysterious Spirit of the West. With the chameleon trying to survive the hot desert and its surroundings, he meets up with a desert iguana named Bean (Isla Fisher) who is a rancher’s daughter trying to save her land. She takes the chameleon to a town called Dirt as the locals are trying to deal with a water shortage where the chameleon ends up calling himself Rango where he deals with a small posse led by Bad Bill (Ray Winstone) and later a hawk whom he accidentally kills. Rango’s antics impress the town’s mayor (Ned Beatty) who appoints him as sheriff as Rango’s claims of his adventures has him trying to figure out the water shortage.

Rango gathers a posse that includes Bean to figure out what’s going on as the water jug bank had been stolen by a group of moles led by Balthazar (Harry Dean Stanton). During the journey, Rango and the posse makes some discovery as they retrieve the jug only to realize something is up where Balthazar isn’t the one they’re after. Rango suspects that the mayor is involved since he states that he who controls the water controls everything where Rango is forced to deal with a vicious gunslinger named Rattlesnake Jake (Bill Nighy). After revealing what he really is, Rango reluctantly leaves town until he meets the mystical Spirit of the West (Timothy Olyphant) who provides him with the answers Rango needs.

The film is essentially a modern-day genre-bending film where a pet chameleon, with a wild sense of imagination, suddenly finds himself in a Western town where he faces a world of corruption where a bunch of locals are finding hope in this horrible drought. That’s pretty much what the film is about as it’s filled with numerous film references including the classic westerns of Sergio Leone and Roman Polanski’s Chinatown in relation to the drought storyline. Screenwriter John Logan does manage to infuse these storylines and film references to create a very compelling yet fun western that is filled with lots of silly humor and character development. Notably for the titular character who is just a lizard that likes to act as indicated in the opening scene while he realizes that he might have to go full-on with this role.

While the script is sort of predictable in its set-up and creating characters that are essentially archetypes of various characters in the western genre. They all manage to still be very interesting and engaging while Logan also adds surreal elements that play up with the genre. Overall, Logan creates a very crafty and thrilling script that doesn’t get boring and create a western that does a lot for what is expected in its genre.

Gore Verbinski’s direction is definitely full of style as he creates lots of wide compositions, character close-ups and scenery where some of it is really a tribute to the visual style of Sergio Leone. The animation from supervisor Hal T. Hickel is truly whimsical in the way Verbinski wants to create this world where it’s a clash between the old world and a new one that the mayor wants. With additional help from renowned cinematographer Roger Deakins for the visuals, Verbinski is able to create a look that is true to the western but also dream-like for some of its nighttime scenes. Overall, Verbinski creates a truly engaging and visually-astonishing film that brings more to what an animated-western does and make it a whole lot of fun.

Editor Craig Wood does superb work with the editing to play up with some of the film‘s humor and suspense along with some amazing rhythmic cuts for a huge chase scene and stylized ones for the showdowns. Production designer Mark “Crash” McCreery, along with art directors John Bell and Aaron McBride, does excellent work in the set pieces created for the town of Dirt where everything looks decayed. Visual effects supervisor John Knoll does fantastic work with the visual effects to play up some of the surreal imagery that Rango encounters in his journey. Sound designer Peter Miller and sound editor Addison Teague do amazing work with the sound to help set a mood for some of the film‘s suspense and in the showdowns that occur.

The film’s score by Hans Zimmer is marvelous for its mixture of bombast and orchestral flourishes that is also very operatic. Notably as the score is very similar to the music of Ennio Morricone with its huge arrangements, twangy guitars, and blaring trumpets to help set the mood. Along with some contributions from Johann Strauss and Richard Wagner to play with the score and contributions from Los Lobos for some of the original songs and the industrial band Lard in the score. The music that Zimmer creates is definitely one of his best as it’s a major highlight of the film.

The voice casting by Denise Chaiman is brilliant for the cast that is assembled as the actors that contribute to smaller characters in the film include Beth Grant, Vincent Kartheiser, Alana Ulbach, Chris Parsons, Blake Clark, Patrika Darbo, director Gore Verbinski, and Stephen Root who voices some of the characters including the bank manager Merrimack. Other notable small voice roles include Timothy Olyphant as the mysterious Spirit of the West, Alfred Molina as the Don Quixote armadillo Roadkill, Abigil Breslin as the witty cactus mouse Priscilla, Ray Winstone as the gila monster Bad Bill, and Harry Dean Stanton as the old-timer mole Balthazar. Bill Nighy is excellent as the cool, Lee Van Cleef-inspired villain Rattlesnake Jake while Ned Beatty is funny in doing a great John Huston impression as the town’s corrupt mayor. Isla Fisher is wonderful as the cunning desert Iguana Beans who tries to fight for her land while helping Rango out. Finally, there’s Johnny Depp in a fantastic performance as the titular character as he brings a lot of humor and swagger to his character making it one of the most enjoyable animated characters on film.

Rango is an extraordinarily rich and whimsical animated film from Gore Verbinski. Thanks to a very talented voice cast led by Johnny Depp, the film is truly an animated film that appeals more than just a young audience. Notably as it features numerous film references that film buffs can enjoy and elements of the western that western aficionados can love. In the end, Rango is a superb animated-western from Gore Verbinski.

Gore Verbinski Films: (MouseHunt) - (The Mexican) - (The Ring (2002 film)) - (Pirates of the Caribbean: Curse of the Black Pearl) - (The Weather Man) - (Pirates of the Caribbean: Dead Man’s Chest) - (Pirates of the Caribbean: At World’s End) - (Lone Ranger (2013 film))

© thevoid99 2012

Cedar Rapids

Directed by Miguel Arteta and written by Phil Johnston, Cedar Rapids is the story of a naïve insurance salesman who becomes a last-minute replacement to attend a regional conference to win a prestigious prize. At the conference, he befriends a wild bunch of insurance agents where they reveal about the dark world of the insurance business. Starring Ed Helms, John C. Reilly, Anne Heche, Isaiah Whitlock Jr., Alia Shawkat, Kurtwood Smith, Stephen Root, and Sigourney Weaver. Cedar Rapids is a heartwarming yet very funny comedy from Miguel Arteta.

Tim Lippe (Ed Helms) is an insurance agent from a small town who holds an idealism about taking care of his customers and earning their trust. While he’s also having an affair with his former schoolteacher Macy Vanderhei (Sigourney Weaver), Tim lives a comfortable yet sheltered life. When a fellow agent named Roger Lemke (Thomas Lennon) had suddenly died, Tim’s boss Bill Krogstad needs Tim to go to Cedar Rapids, Iowa for a regional conference to make presentation for ASMI president Orrin Helgesson (Kurtwood Smith) in hopes for another award for the company. Tim goes to Cedar Rapids where he shares a room with the kind African-American agent Ronald Wilkes (Isaiah Whitlock Jr.) and the more brash Dean Ziegler (John C. Reilly) whom Krogstad wants Tim to stay away from.

Tim also meets Joan Ostrowski-Fox (Anne Heche) as he learns about the rough-and-tumble world of the insurance game. While getting to know Ronald, Dean, and Joan, Tim also befriends a young prostitute named Bree (Alia Shawkat) as he and Joan win a scavenger hunt as they would join Ronald and Dean for drinks and partying. Yet, the party gets a little out of control with Tim after sleeping with the already-married Joan as Tim finds himself trouble with Orrin as he is set to make a big presentation for the Four Diamonds award. Joan would reveal some dark secrets to Tim about Lemke and how he won the awards as Tim refuses to believe what Joan says.

With Dean giving him some advice, Tim would do something to win over Orrin where he realizes what he had done. After going to a rowdy party with Bree, Tim learns what Krogstad is going to do forcing Tim to make some big moves with the help from his new friends.

The film is a comedy about a small town insurance agent whose idealism is tested when he becomes a last-minute replacement for another agent at a very prestigious regional conference. There, he would explore some of the dark secrets of the insurance game along with some people who share his ideals despite their much looser personalities. The film is a coming-of-age story of sorts of a how a young man who learns about what to do in the insurance game though he is someone that just wants to do good for those in his small town and make sure they can trust him. Phil Johnston’s screenplay does play to a bit of formula but its big success is in fleshing out the characters as well as developing them. Notably the Tim Lippe character as it’s his story that is told with some bawdy humor but also some intriguing insight into the world of the insurance business.

Miguel Arteta’s direction is superb as a lot of the presentation is straightforward yet engaging. From the way he shoots a lot of the interiors of the hotel early on to the way he presents some of the film’s humorous moments. The latter of which is done with a lot of improvisation as well as getting the actors set for the frame. The way the actors are directed in their approach to the frame as well as giving them relaxed and lively performance is among one of Arteta’s strengths as a filmmaker. He’s not afraid to put them in uncomfortable situations or tense moments while finding some way to make sure the humor comes off naturally. Overall, Arteta creates a very solid and witty film about a man coming of age in the insurance business world.

Cinematographer Chuy Chavez does a nice job with the film‘s very colorful cinematography that is filled with stylish lighting set-ups for many of the film‘s interior settings while utilizing more naturalistic shots for the film‘s day and nighttime exterior settings where a lot of it is shot in Ann Arbor, Michigan. Editor Erick Kassick does a very good job with the editing by utilizing some rhythmic cuts for some of the film‘s humorous moments including a wonderful montage scene late in the film. Production designer Doug J. Meerdink, along with set decorator Jeanette Scott and art director Rob Simons, does a brilliant job with the look of the hotel suite interiors to complement the new world that Tim Lippe steps in.

Costume designer Hope Hanafin does terrific work with the costumes from the suits the men wear to the more stylish business suit that Joan wears. Sound editor Andrew DeCristofaro does a fine job with the sound work to play up a few key scenes such as a talent contest where Tim steals the show as well as the raucous party scene where Tim parties with Bree. The film’s score by Christophe Beck is excellent for its very playful and melodic-driven score led by jazzy piano riffs and soothing string arrangements to emphasize the film‘s light-hearted humor. Music supervisor Margaret Yen provides a very fun score that is a mixture of folk, indie rock, classic rock, and pop music to play up the world that Tim Lippe ventures into.

The casting by Joanna Colbert, Richard Mento, and Meredith Tucker is incredible for the ensemble that is created as it includes Thomas Lennon as Tim‘s fellow agent Roger Lemke, Mike O‘Malley as the smug top agent Mike Pyle, and Rob Coddroy as a mean guy Tim meets at a party. Alia Shawkat is terrific as young hooker Bree who befriends Tim as she calls him “Butterscotch”. Kurtwood Smith is excellent as ASMI president Orrin Helgesson who claims to be about everything the contest is about only for Tim to discover something devious about him. Stephen Root is superb as Tim’s greedy boss Bill Krogstad who becomes desperate to win the Two Diamonds award while finding some way to make sure Tim succeeds in his mission. Sigourney Weaver is wonderful as Tim’s older girlfriend Macy whom he adores and always go to her for advice as Weaver brings a great maternal instinct to the character while still being very sexy.

Isaiah Whitlock Jr. is great as the film’s straight-man Ronald Wilkes as he shows Tim the ropes about the conference while proving that he can loosen up and be threatening in his own way. Anne Heche is amazing as the very fun Joan Ostrowski-Fox who helps Tim deal with his new surroundings while revealing some secrets about the ASMI conference as it’s Heche giving out one of her best performances of her career. John C. Reilly is phenomenal as Dean Ziegler as Reilly brings a lot of energy to his character that might be a brash blow-hard but there’s also a lot of heart to his character who does care for clients and friends. Finally, there’s Ed Helms in a winning performance as the naïve Tim Lippe where Helms brings a wide-eyed innocence and enthusiasm to his character. Even as Helms gets a chance to be funny while proving to be a solid dramatic actor as it proves that there’s more to Helms than being the crazed partier in the Hangover movies.

Cedar Rapids is a fun and enjoyable comedy from Miguel Arteta. Featuring dynamic performances from Ed Helms, John C. Reilly, Anne Heche, and Isaiah Whitlock Jr., it’s a film that is very smart as well as providing enough amusing and compelling moments to keep its audience entertained. Notably as it’s comedy that doesn’t try to rely on cheap gags in order to create characters and situations audiences can relate to. In the end, Cedar Rapids is a fantastic film from Miguel Arteta.

Miguel Arteta Films: (Star Maps) - (Chuck & Buck) - (The Good Girl) - (Youth in Revolt) - Beatriz at Dinner

© thevoid99 2012

The Ladykillers (2004 film)

Based on the 1955 film directed by Alexander Mackendrick and written by William Rose, The Ladykillers is the story about a gang of hooligans who move into a old woman’s home in hopes to plan a heist only for things go wrong when the old woman learns about their scheme. Written for the screen and directed by Joel & Ethan Coen, the film is a remake is set in the American South as it involves a more diverse gang dealing with an elderly woman who proves to be much tougher than the gang. Starring Tom Hanks, Marlon Wayans, Tzi Ma, J.K. Simmons, Ryan Hurst, and Irma P. Hall. The Ladykillers is an entertaining black-comedy from the Coen Brothers.

Marva Munson (Irma P. Hall) is an elderly widow who goes to church on Sundays as she loves alone with her cat Pickles until a man named Professor Goldthwaite Higginson Dorr, Ph.D (Tom Hanks) asks for the room that is available for rent. After charming her and saving her cat, Munson allows Dorr to have the room while he also asks if he could borrow her basement so he and some friends could use the place to rehearse as their a music group that plays old-time classical music. Munson also allows as it as she meets Lump (Ryan Hurst), Gawain (Marlon Wayans), Garth Pancake (J.K. Simmons), and the General (Tzi Ma). Unbeknownst to Munson, the five men are planning to rob a nearby casino hall that Gawain is working at.

Despite dealing with Munson, the men play to their plan despite a few complications where Gawain was briefly fired and a hole had to be blasted in the tunnel they had dug through. The men eventually succeed in the heist until another mishap leads to Munson discovering what is really going on. With Dorr trying to smooth things over, Munson reveals what should be done with the money. Dorr realizes that something had to be done as he and the gang would do whatever it takes to get rid of Munson only for greed and fear to complicate things.

The film is essentially a black comedy about five criminals using an old lady’s home to dig a hole so they can rob a casino only to deal with the old lady herself. While the film is a faithful re-telling of William Rose’s original screenplay that delves into the themes of greed and doing what is right. Joel and Ethan Coen do manage to infuse some of their own ideas into the story such as setting it in the American South circa mid-2000s and changing some of the ideas by making the criminals rob a casino and explore the world of Southern faith. These ideas work although some scenes in the casino and the hi-jinks that occur doesn’t feel as natural as it could’ve been. Also hampering the screenplay are a few additional characters that don’t work things out while the Gawain character is the worst of them all as he’s just a typical gangster-wannabe with a bad attitude.

The direction of the Coen Brothers is very stylish but also engaging in the way they frame their shots. Shot largely in Mississippi along with some interior settings in California, the film is about this world of this old lady who has a hard time dealing with the changes that surrounds people including hip-hop as she would often complain to a local sheriff that opens the film. While there’s a lot of great moments in the direction, there’s a few moments in the film that doesn’t work such as the montage of how each criminal is introduced. There’s some nice humor to a few of those scenes with some inspiring shots but it feels unnecessary. Other scenes such as Gawain’s scenes in the casino, despite some stylish shots, feels like it comes from another film as if they’re trying to appeal to a younger audience.

Then there’s the climatic third act which would involve the five criminals attempt to get rid of Munson where the whole section of that film feels rushed. Despite some great shots and humorous moments that is in tribute to the original film’s third act. There was so much more that could’ve been drawn out more though one key moment where a character had his chance to get rid of Munson that would involve a flashback scene doesn’t work. Despite a lot of these bad decisions for the film’s dark humor and drama, the Coen Brothers does manage to pull off a pretty engaging film that is enjoyable.

Cinematographer Roger Deakins does an excellent job with the film‘s very colorful and bright cinematography for a lot of the film‘s exterior settings that includes gorgeous daytime scenes of the small Mississippi town along with some very stylish interior shots for the scenes in the casinos and at Munson‘s home. Under the Roderick Jaynes alias, the Coen Brothers’ approach to the editing is quite methodical in terms of how they approach each frame and make a smooth transition that frame as it’s pretty solid work by the duo. Production designer Dennis Gassner, along with set decorator Nancy Haigh and art director Richard L. Johnson, does fantastic work with the home of Munson as well as the casino and the church that Munson attends.

Costume designer Mary Zophres does a superb job with the costumes from the casual dresses of Munson to the white suit of Dorr as well as the wonderful gowns the gospel choir wear. Visual effects supervisor Janek Sirrs does some nice work the film‘s lone visual effects sequence that involves a garbage boat and an island that serves as a great tribute setting to the original 1955 film. Sound editor Skip Lievsay and sound designer Eugene Gearty do terrific work with the sound to capture the intimacy of the church service to the sounds of explosions and ship horns to play up the atmosphere that is prominent throughout the film.

The film’s music is a wonderful mix of hip-hop, blues, folk, and gospel that is assembled by T-Bone Burnett that plays up to the world that is the American South. The hip-hop music by Nappy Roots and Little Brother is pretty good while it’s the blues and gospel music of Blind Willie Johnson, the Soul Stirrers, Swan Silvertones, and many others that is the real highlight. Along with a classical piece from Luigi Boccherini that is in tribute to the original film, music composer Carter Burwell does bring in a fine score that is orchestral to play up some of the film’s suspense and dark humor that occurs in the film.

The casting by Ellen Chenoweth is pretty good for the cast that is assembled as it features appearances from Jason Weaver as a casino worker, Stephen Root as the casino boss, George Wallace as the town’s lazy sheriff, Diane Delano as Pancake’s partner Mountain Girl, Greg Grunberg as a TV commercial director, and Bruce Campbell in a cameo appearance as a Humane Society worker in a TV commercial. Ryan Hurst is pretty good as the dim-witted muscle-man Lump while Tzi Ma is excellent as the quiet but very deadly smoker known as the General. J.K. Simmons is wonderful as the very resourceful explosives expert Garth Pancake who tries to involve his girlfriend for the plan while dealing with the more brash Gawain.

Marlon Wayan’s performance as Gawain is definitely the worst thing in the film as Wayans tries too hard to be all thuggish and spout lots of profanities as his character ends up playing to the gangsta stereotype. Tom Hanks is very funny as the devilish Professor Dorr who tries to charm his way to situations while often reciting the poetry of Edgar Allen Poe as it’s Hanks at his most entertaining. Finally, there’s Irma P. Hall in a phenomenal performance as the good-hearted yet conservative Marva Munson. Hall displays a lot of energy to her character while often getting the chance to steal scenes from her other actors proving to be a very tough old broad as she is definitely the film’s highlight.

The Coen Brothers’ remake of The Ladykillers is a good film from the Coen Brothers that features excellent performances from Tom Hanks and Irma P. Hall. While it doesn’t have the more devious tone of the original 1955 film, the Coen Brothers do try to update it with style where the overall result is quite mixed. Particularly as this is the Coen Brothers’ weakest film of their entire career though it is better than a lot of other comedic remakes out there. In the end, the Coen Brothers’ take on The Ladykillers is a fun comedy that does a serviceable job to get its audience to laugh and have a good time.

Coen Brothers Films: Blood Simple - 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 - 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

Related: The Ladykillers (1955 film) - The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

No Country for Old Men

Originally Written and Posted at Epinions.com on 11/22/07 w/ Additional Edits.

Based on the novel by Cormac McCarthy, No Country for Old Men is the story of a man who finds dead bodies in a shootout and a suitcase with two million dollars in cash. Suddenly, an investigation over the dead bodies is made by a sheriff while a killer is looking for his lost money. Written for the screen, produced, and directed by Joel & Ethan Coen, the film is a return to the crime films of their past work to study a war as it baffles an aging sheriff caught up in changing times. With an all-star cast that includes Josh Brolin, Javier Bardem, Kelly MacDonald, Woody Harrelson, Barry Corbin, Beth Grant, Tess Harper, Coen Brothers regular Stephen Root, and Tommy Lee Jones. No Country for Old Men is a haunting, visceral, and chilling film from the Coen Brothers.

It's 1980 in a desert in Texas as a man named Llewellyn Moss (Josh Brolin) is deer hunting as he hears gunshots from the other side of the desert. He walks into a slew of dead bodies with a man wounded asking for water. He then finds another dead man under a tree with a shiny pistol and a suitcase filled with two million dollars in cash. He returns home to his trailer park residence where his wife Carla Jean (Kelly MacDonald) was waiting for him. She wonders about the money he's just found as Llewellyn hopes he uses it for little things. Later that night, he wakes up returning to the scene of the crime hoping to help the wounded man only to be chased by a gang of Mexican drug dealers and a dog as he returns home telling Carla Jean to leave town and live with her mother (Beth Grant).

Meanwhile, a sociopathic killer named Anton Chigurh (Javier Bardem) is trying to find the lost money as he later kills his employers and others to find his money. After killing several people for their cars, he goes on the hunt for Llewellyn Moss as an investigation over the drug deal with dead bodies lying around is underway by a sheriff named Ed Tom Bell (Tommy Lee Jones). With his young deputy Wendell (Garret Dillahunt) assisting, they ponder on who did the deed while finding Llewellyn's truck. With Anton's bloody manhunt continues, Llewellyn is still evading him while wondering who is hunting him down. With the money now lost, it's up to a bounty hunter named Carson Wells to find the money for a businessman (Stephen Root) to recover from the botched drug deal.

After another near-encounter with Chigurh that becomes bloody, Llewellyn flees to Mexico where he is met by Wells who tells him about Chigurh. With Wells as Moss' only hope, he returns to the U.S. to be with Carla Jean who has been questioned by sheriff Bell about what happened. On the day he arrives, she calls Bell for help where suddenly, things become tragic as Bell is forced to ponder the changing times as he talks to his uncle Ellis (Barry Corbin) about the way the world works.

Returning to some of the crime elements in films like Blood Simple and Fargo, the Coen Brothers lean towards the novel by Cormac McCarthy about this simple story of a man who finds money only to be hunted by a killer with a sheriff trying to piece everything together. While little was reportedly changed from the original book to the Coens' adapted script including the dialogue, the story is definitely relevant to many of the Coen Brothers themes of symbolism and morality. Another theme that the film explore is sin, particularly greed as it's the catalyst for the film's plot. The money is the symbol of all greed with Chigurh, Moss, and Wells all wanting the money yet for different reasons. Wells wants it for the businessman while Moss is more of a simple man, and then there's Chigurh.

Anton Chigurh is a villain that is rarely seen in films. He’s violent, anti-social, remorseless, humorless, and certainly scary. While there is no clear motive on why he wants his money, he is a man that is willing to have it by any means necessary. No matter who he kills. He is certainly someone that has a presence where it's clear that once he's in a scene in the story, trouble is about to happen. Then there's Llewellyn Moss who is basically a simple man that has a bit of intelligence while knowing he's about to do something really stupid. Moss is a character audiences care about despite the fact he's a simple man.

Then there's the character of Ed Tom Bell, who begins the film with a voice-over narration about the way the world is changing for elders who couldn't keep up with the changing times. Bell is a man who seems content about his job and life yet has a few regrets. When he is faced with this investigation, it gives him a chance to do something good and maybe have a bit of redemption. Yet, his conflict isn't just this crime but action and cruelty of this crime that he is baffled by. It's the script by the Coens and their faithfulness to McCarthy's work that is amazing for its structure with the first act being about the found money and Chigurh's manhunt for Llewllyn, the second act is about that continued manhunt and Bell's confusion over the modern world. The third act is more about Bell and how he relates to things as well as loss. His loss isn't just about what happens but the world around him as he turns to his Uncle Ellis as he too is having trouble understanding the world.

The direction of the Coen Brothers is potent as ever with its use of locations shot in Texas and New Mexico. From its eye-weilding imagery to stylized scenery, Joel and Ethan Coen definitely create situations that wouldn't be shown in a Hollywood film. Notably the violence which acts as a sense of force and an element of surprise. Their take on the film's violence is visceral indeed from the opening sequences of Chigurh killing a deputy and then another man. For some scenes, the Coens know when not to show an act of killing even though the audience knows what was going to happen. The sense of tension and momentum throughout the film is superb with everything not being too fast or too slow. The pacing they use works on every level to convey the suspense. More importantly, the Coens' approach to storytelling with their compositions of scenes and presentation is insatiable.

One thing that a lot of audiences might be baffled about the film is its ending which is abrupt. What the Coens is emphasizing is the film's theme and most of all, it's title. It's about everything that has just happened and how one of its protagonist is dealing with everything. While that character may be rambling about something, it's only to reflect what the character is going through. It might seem confusing at first but once it's being replayed in the mind, it becomes understandable. That's what the Coens are trying to do while giving the audience something to think about in their own interpretations. The result overall is the Coen Brothers making a film that is haunting and as hypnotic as some of their previous work.

Longtime cinematographer Roger Deakins brings out some of his best camera work to date with eerie, dream-like photography style for many of the film's exterior sequences. Notably Llewellyn's chase in the desert as well as the nighttime scenes in Texas and Mexico. The interior sequences are done with amazing, low-light shades and darkness to give the film that haunting look. The cinematography of Deakins isn't just something that many cinematographers will love but also worthy of awards. The film's editing by the Coens under their Roderick Jaynes alias is also potent for their energetic, well-paced editing style to convey the suspense and tone of the film as Jaynes' work is amazing.

Production designer Jess Gonchor with art director John P. Goldsmith is excellent for its old-school, Texan look whether it's the cowboy shops, the trailer park home of the Moss', or the down-home look of Bell's home that is simple yet clean. The overall look in the production is amazing for its authenticity to convey what is America. Longtime costume designer Mary Zophres does some great work in the film's clothes with the use of cowboy hats for the characters of Bell, Moss, and Wells along with the dresses of Carla Jean Moss that are very simple. Longtime sound editor Skip Lievsay with sound designer Craig Berkey create a unique tone to the entire film for the fact that there's no film score played throughout the entire film. Instead, Lievsay and Berkey create sounds for the film's suspense and violence as their work is just amazing on every level. While longtime music composer Carter Burwell's work is minimal, he does create an eerie, ominous score with dense arrangements for the film's final credits.

The films casting by Ellen Chenoweth is amazing for notable small performances from Eduardo Antonio Garcia as the wounded man from the shootout, Zach Hopkins as the deputy killed early in the film, and Kit Gwin as Bell's secretary Molly. Other notable small performances from characters Barry Corbin and Beth Grant are superb with Corbin as the laconic Uncle Ellis and Grant in a funny role as Carla Jean's mother. Tess Harper is excellent in the role of Bell's wife who only appears in a few scenes but is a woman who is trying to understand her husband's alienation with the modern world. Coen Brothers regular Stephen Root is great in his brief performance as a businessman who hires Wells to track down the money while Garret Dillahunt is brilliant as Bell's young partner who scours around every crime scene asking Bell questions. Woody Harrelson's small role as Carson Wells is great for its laid-back humor and experience of a bounty hunter who knows Chigurh all too well and how he plays the game.

Scottish actress Kelly MacDonald is amazing as Carla Jean Moss, an innocent woman who is unaware of what her husband is trying to do despite her love for him. MacDonald does a great Texan accent while her performance is amazing for how she seeks help from Bell while having an amazing scene near the end about her own fate that shows her subtlety and restraint to everything that's happened to her. Josh Brolin is equally as great in the role of Llewellyn Moss, a simple man who doesn't know what he put himself through. Brolin's performance is very rugged and laconic as a Texan who knows he isn't the smartest man in the world while proving that he could go toe-to-toe with a psychopath like Chigurh. Brolin, who is having a breakout year with appearances in Robert Rodriguez's Grindhouse segment in Planet Terror, Ridley Scott's American Gangster, and Paul Haggis' n the Valley of Elah with Tommy Lee Jones as he is now destined for stardom.

Tommy Lee Jones is in masterful form as the wise Ed Tom Bell. Jones' performance is very grizzled and often with dead-pan humor that includes rambling stories about people he know. Yet, Jones performance isn't just hypnotic but also mesmerizing for the way he looks at the world and how he tries to do good. Tommy Lee Jones doesn't just earn another winning performance but one that most actor should look up to. Finally, there's Javier Bardem in what has to be his most chilling performance yet as Anton Chigurh. If there was a Hell-in-a-Cell match with Jason, Hannibal Lector, Freddy Krueger, and every other super-villain on film, Chigurh would win hands down. Bardem never goes over-the-top throughout his performance but his restraint is so eerie, it's definitely a performance that is unforgettable. While also sporting a Texan accent of sorts, Bardem definitely hides in character with a haircut that's almost comical until he starts killing. That's when he reveals he isn't funny and is all about business. Bardem rarely smiles in the film and if the Academy overlooks this performance, then the Oscars ain’t worth winning.

No Country for Old Men is a quintessential, harrowing, shocking film from Joel and Ethan Coen with a great cast that includes Javier Bardem, Tommy Lee Jones, Josh Brolin, and Kelly MacDonald. Fans of the Coen Brothers will no doubt rank this film up there with a lot of their many great films while those who loved the Cormac McCarthy novel will enjoy the film for its symbolism and themes. In the end, this is a film not for the faint of heart, especially for anyone who isn't into any kind of violence. Still, No Country for Old Men isn't just one of 2007's best films but it's a sign that the Coen Brothers are back in business.

Coen Brothers Films: Blood Simple - 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 - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewlyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

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

© thevoid99 2012