Coen Brothers – Page 2 – Consumed By Film

CBF’s Genre Toppers: Comedy

After spending most of the day trying to fix my laptop (and succeeding, evidently) I think some laughs are in order. Therefore, it is time for five funny comedies! Everybody loves to laugh and there are not many better places to go than the cinema to be prompted in that direction. I have been a fan of comedy for as long as I can remember and the great thing about the genre is that it does not discriminate — everybody enjoys it.

Anyway, let the hilarity ensue!

Johnny English (2003)

Released in 2003 and directed by Peter Howitt, Johnny English stars the incomparable Rowan Atkinson as the title character and the only British spy left in action after an attack on MI5. English — confident, yet lacking in the intelligence department — is tasked with finding the perpetrator of the attack and recovering the stolen Crown Jewels, with assistance from the far more capable Interpol Agent Lorna Campbell (Natalie Imbruglia).

This is the one of the first comedy films that I can remember watching and laughing uncontrollably at throughout. Rowan Atkinson really is a comedic genius, with everything from his facial expressions to his timing absolutely spot on here. The film acts as a sort of parody of James Bond, and Atkinson is exceedingly good at making the audience root for a rather unintelligent, out-of-depth British spy. There are a few particularly funny scenes (the sewers), but in general the film is bursting with laughs. Natalie Imbruglia does a fairly good job at portraying English’s more sensible partner, although the apparent romance between the two is a little far-fetched (I guess that is comedy though, right?). John Malkovich hits just about all the right notes as the villain of the piece with his dodgy French accent (it only adds to the humour) and sublime hair.

Johnny English does not attempt to take itself too seriously and this works in its favour as the film delivers barrels of laughs and entertainment.

Silver Linings Playbook (2012)

“Come on! Bin bags make great clothes, we could sell millions of these!”

The first film to be nominated in all four acting categories at the Academy Awards since 1981, David O. Russell’s Silver Linings Playbook stars Jennifer Lawrence and Bradley Cooper as recently widowed sex addict Tiffany Maxwell and bipolar Pat Solitano, respectively. After being released from a psychiatric ward, Pat’s primary aim is to reconcile with his ex-wife who wants nothing to do with him. Meanwhile, having just lost her husband Tiffany has her focus on an upcoming dance competition. After the two meet, they agree to help each other out with Tiffany ensuring Pat’s letters reach his ex-wife, as long as he partners Tiffany in her dance competition.

Well that was a long synopsis. The first thing to say here is Jennifer Lawrence ~~is the greatest living being~~ and Bradley Cooper have tremendous chemistry which more or less makes this film as good (and funny) as it is. They work so well together, in fact, that they are working together on another two future films, one of which David O. Russell is back directing. Lawrence is absolutely on fire at the moment (no pun intended) and can do wrong, and Cooper has put in a steady stream of really great performances in recent films such as, The Place Beyond the Pines and Limitless. It is no surprise, therefore, that the foundation of all things good about Silver Linings Playbook is in the dynamic between the duo. Combine that with a witty, energetic and sensitive script, along with magnificent supporting actors like Robert De Niro and Jacki Weaver and you have a very funny but also very moving film.

Much has been said about this film’s careful depiction of mental illness and how positively it is put across on-screen, but purely in terms of comedy, Silver Linings Playbook is up there with the funniest films in recent years.

Ferris Bueller’s Day Off (1986)

“For the hundredth time, the camera’s this way!”

Next, we take a trip back to 1986 where Ferris Bueller’s Day Off has just graced cinemas around the world, garnering much critical acclaim. Matthew Broderick stars as Ferris Bueller, a teenager who decides to take a day off school (imagine that?) with his girlfriend Sloane (Mia Sara) and best friend Cameron (Alan Ruck), where they go out and explore their freedom whilst simultaneously attempting to avoid the school principal in any way they can.

It took me a long time to get around to seeing this film, which is regrettable because it is one of the best feel-good comedies out there in my view. In terms of sheer laughs, Ferris Bueller’s Day Off probably is not the funniest on my list, but it certainly is the funnest. Be it the inventive ways the trio try to avoid the principal or the principal himself’s various ordeals throughout, this film grasps the ‘be positive’ attitude more than any other I have seen. Broderick, Sara and Ruck work well together in the three prominent roles, with Broderick keeping the audience on their toes as he breaks the fourth wall a number of times — this I thought was an interesting ploy used by director John Hughes and one which worked well. Jeffrey Jones is hilarious as the principal (or ‘Dean of Students’) and makes a more than adequate nemesis opposite the trio.

John Hughes has a brilliant knack for comedies and Ferris Bueller’s Day Off is definitely one his more heartfelt, if not one of his funniest.

In Bruges (2008)

Directed by Martin McDonagh, In Bruges was released in cinemas back in 2008. It stars Colin Farrell and Brendan Gleeson as two Irish hitmen who are relocated to Bruges, Belgium after a hit goes wrong. But what they believe to be another job turns out to be something else entirely.

Since its release in 2008, In Bruges has gone on to claim cult status and is regarded as a classic by many. McDonagh’s brand of black comedy is in full force here, and both Colin Farrell and Brendan Gleeson deliver it with ease. The two leads are hilarious in their roles, playing off each other to great effect and both generating much empathy from the audience, particularly Farrell whose character, Ray, has played an accidental role in the murder of a child. McDonagh’s sense of direction comes through in abundance here, with each character playing an important part in the film and each scene executed with finesse. The Bruges setting is beautiful and greatly adds to the poetic nature of the script and the fairy tale aspect of the film. Although this is primarily a comedy, there are a few touching moments which take the film above and beyond the comedy genre. Ralph Fiennes and Clemence Poesy are both effective in, metaphorically, very different supporting roles — the former about order and conviction while the latter exudes freedom and new beginnings.

In his directorial debut, Martin McDonagh has created a gem in In Bruges: often hilarious and occasionally touching, this is a winner.

O Brother, Where Art Thou? (2000)

O Brother, Where Art Thou? opened in cinemas in 2000 and is directed by the Coen brothers, Joel and Ethan (although Ethan is uncredited). Set amid the Great Depression in 1930s America, it stars George Clooney, John Turturro and Tim Blake Nelson as three convicts — Ulysses, Pete and Delmar, respectively — who escape capture in order to search for hidden treasure, whilst evading a lawman who is in pursuit.

“My ears are burning. Can anybody smell smoke?”

This is just fantastic. I first watched this in school (school finally comes up trumps) and have been a big fan ever since. The rural Mississippi setting creates a dusty, woody atmosphere (which is by no means a bad thing), shoving the three leads right into the heart of the hardships of the depression in 1930s America. With nothing but themselves and their brains — well, Ulysses’ brain — to keep them on the correct path, they must rely on trust and luck more than anything else. The Coen brothers, as I have mentioned in one of these blogs previously, have an exceptional eye for selecting locations to film and, more than any other film on this list, the dusty plains of rural Mississippi are unequivocally suited to the mood and script of O Brother, Where Art Thou? In terms of the script, it is witty, wacky and insightful and is delivered with nothing but enthusiasm by Clooney, Turturro and Nelson. Of course, I cannot forget about John Goodman, who is very funny playing the brash, obnoxious Bible salesman “Big Dan” Teague. There are plenty of laughs woven throughout the film and they all hit the mark without going overboard — this film is out there at times, but not too far out there. Finally, the soundtrack is rich and hugely satisfying, giving the film a nice twang.

O Brother, Where Art Thou? is another corker from the Coen brothers, full of quips and ambition. It is a triumph in filmmaking in my opinion.

Here are a few honourable mentions, films that I really like but not quite as much as the aforementioned five:

Planes, Trains and Automobiles (1987) — The original comedy road trip film, Planes, Train and Automobiles sees Steve Martin and John Candy unwittingly team up in order to find a way home for Thanksgiving, but not without a few mishaps on the way.

American Pie (1999) — The raucous teen comedy which paved the way for more like it, the original American Pie is by far the funniest and probably the least offensive. You do not need to be offensive to be funny, right?

Bruce Almighty (2003) — Jim Carrey is in full comedic flow (facial expressions and all) in Bruce Almighty as he portrays an unlucky guy who is given God’s job for a week. Chaos, commence.

Dodgeball: A True Underdog Story (2004) — Alongside Johnny English, Dodgeball: A True Underdog Story is one of my long-standing favourite comedy films, and it is still as funny now as it was back in 2004. Yes, it is still dodging those wrenches.

The Hangover (2009) — Hopefully Kermode won’t see this.

Which films make you laugh the most?

CBF’s Genre Toppers: Thriller

Today I am focusing on some of my favourite films in the thriller genre. Just before I begin, I would like to be clear on how I make the distinction between thriller and action, because sometimes they seem to mesh into one. This is just my own personal way of telling both genres apart and there really is no right or wrong answer here — you may think something completely different!

Firstly, the main similarities between the two genres are the typically a fast-paced plot and, more often than not, a heroic character fighting off a villainous one in one way or another. For me, the separation tends to occur in the tone of the film. For example, a thriller seeks out suspense and jeopardy as the driving force, whereas an action film is all about excitement and liveliness. Also — and again this is just the way I see it — action films tend to be more light-hearted than thrillers (not always, but generally).

Anyway, on to five greats!

Skyfall (2012)

The newest film on the list, Skyfall was released in October 2012 and declared instantly by the vast majority of viewers to be the best Bond film ever. Helmed by Sam Mendes and with Daniel Craig reprising his role as James Bond, the film follows Bond’s relationship with M (Judi Dench) throughout his investigation of a violent attack on MI6 at the hands of former agent Raoul Silva (Javier Bardem) who is out for revenge.

As I mentioned earlier, Skyfall has been touted as the best Bond film ever by audiences and critics alike, and has now grossed well over $1 billion which makes it — as of writing — the eighth highest grossing film of all time. That tells you that Sam Mendes done something right. In fact, he done just about everything right in this emotional roller coaster ride. For the first time, the audience is invited into the ins and outs of the relationship between Bond and M which makes this instalment more weighty and heartfelt, yet it still maintains that slickness that has always been associated with the franchise. Mendes has a stellar cast at his disposal — joining Daniel Craig (who plays his best Bond to date opposite Judi Dench, in my opinion) in Skyfall are newcomers to the franchise Ralph Fiennes, Ben Wishaw and Naomie Harris who each add their own nuances to the film (Wishaw is particularly good as Q). However, the star of the show is Javier Bardem with his charismatic, extravagant portrayal of villain Raoul Silva. On a par with Mads Mikkelsen in Casino Royale (we will just ignore Quantum of Solace for now) Bardem is hugely effective opposite Craig and the two flourish as a result.

Although Bond has become a genre on its own essentially, Skyfall claims a spot in my top thriller films for its crisp, free-flowing script and interesting characters.

No Country For Old Men (2007)

No Country For Old Men is an Academy Award winning 2007 film directed by Joel and Ethan Coen (or just the Coen brothers). The plot surrounds Josh Brolin’s character, hunter Llewelyn Moss after he uncovers over $2 million worth of cash at a drug deal gone wrong and is pursued as a result by vicious hitman Anton Chigurh (Javier Bardem) who has been hired to recover the stolen cash. Meanwhile, almost retired sheriff, Ed Tom Bell (Tommy Lee Jones) finds himself thrust directly into the cat-and-mouse chase between the two.

It is not often the Coen Brothers get it wrong and, true to form, No Country For Old Men is a knockout. This marks Javier Bardem’s second appearance on my list, and for the second time he steals the show. Bardem is excellent at portraying a psychotic, emotionless killer and his aura throughout the film adds to the creepy, on-the-edge, thriller-ish atmosphere. Both Josh Brolin and Tommy Lee Jones are terrific in their depictions of a desperate war veteran and a straight-to-the-point county sheriff respectively. The 1980s Texas setting truly adds to the grit (wink) and once again proves just how good a pair of eyes the Coen Brothers have at selecting locations for their films — have a look at Fargo and O Brother, Where Art Thou? if you do not believe me.

No Country For Old Men is captivating and intense, just two of the many characteristics which make it a very enjoyable thriller.

Argo (2012)

Ben Affleck’s third directorial feature, political thriller Argo, opened in cinemas a few weeks before Skyfall in October 2012 and stars Affleck, Alan Arkin and Bryan Cranston. The film is a dramatisation of the Iranian hostage crisis in the 1980s where six fugitive American diplomats require assistance in the form of extraction out of Iran from CIA specialist Tony Mendez (Ben Affleck).

I cannot wait for Affleck’s next film, because this one is absolutely outstanding. Argo defines the thriller genre — every characteristic required to make this film a success is in there. Gripping, intense, polished and stylish, Argo delivers on all fronts. For a political thriller, the plot is not difficult to follow, yet it remains shrewd and without any glaring mishaps. One of the more surprising elements here, particularly following the terrifying opening sequence, are the pockets of dark comedy splattered throughout the film which by no means feel out of place. Affleck manages to equate the frantic goings-on with enough dark humour to ensure the film does not become too lifeless or overbearing. Each of the performances from the cast are solid, with Alan Arkin standing out in particular, but the constantly flowing nature of the plot is the key to this film’s success.

How Ben Affleck was snubbed by the Oscars (he did not receive a nod in the Best Director category) is beyond me. Argo is a must-see film and definitely one of the best released in 2012.

Inception (2010)

Directed by Christopher Nolan, the summer blockbuster of 2010, Inception, stars a jam-packed ensemble cast lead by Leonardo DiCaprio, who receives his support from the likes of Ellen Page, Tom Hardy, Joseph Gordon-Levitt, Cillian Murphy and Marion Cotillard (the list goes on). DiCaprio plays Dom Cobb, an extractor — or plainer terms, a thief — who enters his subject’s dreams in order to carry out an extraction. When he is offered the chance to see his children again, Cobb must assemble a team of specialists together in order to plant an idea into his target’s (Cillian Murphy) subconscious — a process known as inception.

I am probably going be referring to film critic Mark Kermode a lot during this next paragraph, because his review of Inception is one of the best I have heard. Massive summer blockbusters are sometimes tarred (often justifiably) as being big money-making schemes with very little for their audience, who have become accustomed to seeing films where absolutely nothing happens other than some pointless, soulless action sequences (I am looking at you Michael Bay). Kermode attributes this to a small percentage of filmmakers perhaps assuming their audience is too ‘dumb’ to be able to watch a film and at the same time… think. Yes, think. It really is absurd, but it does appear to happen. Look at Transformers for example: the whole franchise is nothing more than robots hitting each other, which is fine once (I suppose), but not over and over again until it becomes so intolerable it hurts to watch. Inception, however, is a perfect example of a massive blockbuster that provides enough action and thrills to appease everyone, but also makes its audience think during the film — and it worked, because the film has taken over $825 million. Why? Because people appreciate that Christopher Nolan is looking out for his audience and making films that will challenge them, but that are also highly enjoyable (The Dark Knight trilogy being another example). Also, because Inception had a number of different layers to it (both literally and figuratively) and because people enjoyed it, some then had to go back and see it again in order for them to fully understand it! That does not mean those people are dumb, quite the opposite in fact: it means they are thinking.

But I digress. Inception is a show-stopping thriller stuffed full of ideas, great performances, amazing visual effects, comedic moments and even some emotion (look it up, Bay).

Blood Diamond (2006)

The oldest film on my list (albeit not very old), Blood Diamond is another political thriller starring Leonardo DiCaprio. This time he accompanied by Djimon Hounsou and Jennifer Connelly in a Sierra Leone setting. At the height of the Sierra Leone civil war (1996-2001), smuggler Danny Archer (DiCaprio) teams with a local fisherman (Hounsou) and a reporter (Connelly) in an attempt to seek out and gain possession of a large diamond, with each of the three boasting different motives.

Leonardo DiCaprio (incidentally, my favourite actor) gets a bad rap for his South African accent in this film — it sounds great to me, but maybe I am touch biased. I doubt that. The performances are very strong, with all three protagonists providing a combination of fury, optimism, emotion and anguish to accompany the desperate situation they find themselves in (particularly DiCaprio and Hounsou). The story moves at greater-than-steady pace which provides the thriller-ish aspect which the film has in abundance, with Edward Zwick’s narrative ensuring the audience remains grasped throughout. Part of the formula which contributes to Blood Diamond’s success in my eyes, is its realism as it depicts some of the hardships most civilians staying in Sierra Leone (and elsewhere) were going through during the civil war. A few of the scenes are harrowing, not in a particularly gory way, but because they dramatise atrocities occurring around the world. I would say, however, that Zwick does not make these scenes exploitative in away way — they are an essential part of the story. On a last note, the African setting is absolutely stunning and almost becomes a character itself during the film.

Blood Diamond really hits home in its realistic nature, and at the same time serves up a gripping tale of two very different men with one common goal.

And now for some honourable mentions:

Se7en (1995) — This is a very accomplished horror story about two men tracking down a serial killer who leaves them clues in the form of the Seven Deadly Sins… only, with people involved. Morgan Freeman and a young Brad Pitt excel in their roles.

The Talented Mr. Ripley (1999) — At times you get obsession, then you get Matt Damon in The Talented Mr. Ripley. What opens as a fairly innocent thriller closes with just enough menace to fill anyone for a day. Or a lifetime.

Inside Man (2006) — A very underrated film in my opinion, Inside Man sees the charismatic Denzel Washington tasked with rescuing a bunch of civilians caught up in a bank robbery masterminded by Clive Owen. Very intriguing action with a wonderful twist.

Taken (2008) — I think just about everybody has seen Taken — it’s on the TV at least once every week (and weirdly, it costs exactly three pounds in just about every shop in Scotland). Often brutal, always entertaining and the birth Liam Neeson: action star.

Wrecked (2010) — A small, independent thriller starring Adrien Brody as a man who wakes up in the middle of a forest after a car accident he cannot remember anything about. Interesting, dramatic and unique.

Source Code (2011) — This may make an appearance on another list, but as a thriller it just about misses out my top five. Therefore, I will refrain from saying much more for now (but it is very, very good).

What are some of your favourite thriller films?

(Note: Mark Kermode reviews each week’s new film releases between 2-4pm on Fridays with Simon Mayo on BBC Radio 5live, so check them out if you like films, or flappy hands. You will not regret it.)