Movie Review: Bridge of Spies (2015)

by Tony Dayoub


Director Steven Spielberg reunites with Tom Hanks for the cold war thriller Bridge of Spies. Based on fact, the film details the capture and arrest of Rudolf Abel (Mark Rylance), an otherwise unremarkable man who was passing on information to our enemies in the most nondescript way, as he painted landscapes in Brooklyn's Prospect Park. James Donovan (Tom Hanks) is a formerly prominent attorney asked to take Abel on as his client in order to give the impression that Abel is getting the best defense there is. When Donovan begins to take his assignment more seriously than anticipated, saving his client from a death sentence, the CIA enlists him to negotiate the release of a downed U2 pilot standing trial in the Soviet Union. The kind of double-play Donovan then chases is a gambit that surprises everyone.

The Best Movie of 2013: Inside Llewyn Davis

by Tony Dayoub

As I write this in a coffee shop, the wind chill outside makes it feel a number of degrees below 0°. That's chilly enough to remind me that I still haven't shared my thoughts on my favorite film this year, the Coen Brothers' Inside Llewyn Davis. A musical that's not a musical, Inside Llewyn Davis is set in the kind-of-blue/kind-of-snowy, early 60s folk scene of Greenwich Village. And its eponymous protagonist is not a character you easily... pardon the pun... warm up to. Llewyn Davis (Oscar Isaac) is a talented singer-songwriter, and we know it not just because of his excellent performance of the traditional "Hang Me, Oh Hang Me" that opens the film.

Movie Review: True Grit (2010)

by Tony Dayoub

Richard T. Jameson has an excellent piece up on his blog, Straight Shooting, entitled "also-true 'Grit'". You can (and most definitely should) read it for yourself, but in it he compares the new Coen Brothers film with Henry Hathaway's 1969 original. His conclusion:

So if I had to pick only one True Grit movie to take to the proverbial desert island, it'd be Hathaway's, Wayne's, Ballard's and, while we're at it, Elmer Bernstein's: that gentleman was Wayne's music scorer of choice in the Sixties, and the Bernstein sound laid over one of Lucien Ballard's high-country shots of quivering aspen and immeasurable, clear-air vastness imbues the moment with mystery. (The score of the 2010 version, by regular Coen collaborator Carter Burwell, runs variations on "Leaning on the Everlasting Arms," a folk hymn best known from Night of the Hunter.)

The beauty of it is, though, that we don't have to pick one True Grit. Both are worth having. We take for granted that any Coen picture is going to be a work of impeccable craftsmanship, and yes, Roger Deakins is at the camera once again. The brothers' fidelity to [Charles] Portis' novel not only honors a great literary achievement but also makes for a narrative with fascinating interruptions, digressions and enigmatic encounters - in short, storytelling of a perversity the Coens usually have to generate on their own.

Like the book but unlike the 1969 movie, their True Grit has a narrator, Mattie, and keeps faith with her point of view. What she doesn't know, we don't know.

There are a few things I find particularly cogent about Jameson's review: his perceptive connecting of the Coens' True Grit to The Night of the Hunter; "What she doesn't know, we don't know..."; and, "The beauty of it is, though, that we don't have to pick one True Grit."

Movie Review: A Serious Man

by Tony Dayoub



Have pity upon me, have pity upon me, O ye my friends; for the hand of God hath touched me. - Job 19:21

The Coen Brothers' latest black comedy, A Serious Man, is their best film since The Big Lebowski (1998). Like that film, it will face some adversity in reaching its audience since it is a little "inside sports" when it comes to Judaic religious rituals. But it should appeal to anyone with an open mind, a wicked sense of humor, and a love for the Coens' brand of hilarity.

Movie Review: Burn After Reading - Snapshot of Our Sad State of Affairs

by Tony Dayoub



The Coen Brothers' latest Burn After Reading is a movie I've been meaning to get around to reviewing. I saw it on opening weekend, and my knee-jerk reaction was a less than enthusiastic response to the film. But I couldn't blame the film or the directors for failing to meet expectations set by its marketing people. I decided to wait a week, to allow the film to reveal itself to me. And if you've seen the film, you might be surprised at what my thoughts are.


Osborne Cox (John Malkovich) is a low-level CIA analyst who resigns after being demoted for an alleged drinking problem he denies. Turns out he's pretty much a lush. And why shouldn't he be. He has trouble adapting to the monotony of daytime TV. He has little to fill his tape recorder with as he dictates his memoirs (or as he calls them, "mem-was"), and his marriage to the ice-cold Katie (Tilda Swinton) is slowly disintegrating.

Katie is demanding even of Harry Pfarrer (George Clooney), a married federal marshal who has a peculiar side project he's working on in his basement. See, Katie is on her way to ending her relationship with Osborne, a move Harry's been pushing for until it becomes reality. A paranoid serial philanderer, Harry usually goes for unavailable women, to keep it simple. But his m.o. has backfired this time. And when he goes on his 5 mile runs, he senses someone following him. Could it be Linda and Chad?

Linda Litzke (Frances McDormand) and Chad Feldheimer (Brad Pitt) are two gym instructors who have found a misplaced disc with Osborne's private information. They decide this is their ticket to fortune, and try blackmailing Cox. But Cox refuses to play their game. The two amateur spies are not holding anything of value to anyone but Cox, as they soon discover when they try selling the info to the Russians. But Linda, who is banking on extensive cosmetic surgery to lift her spirits, is determined to see her plan through. And Chad, a Type-A thrill junkie, is definitely along for the ride.

My immediate reaction was that this was no Raising Arizona, to be sure. The movie trailers promised a madcap comedy in the vein of that movie or The Big Lebowski. This was anything but. First of all, the film is more of an ensemble piece than the ads indicate (Pitt and McDormand are definitely not the protagonists). Carter Burwell's score is an exceedingly melodramatic one, a sort of espionage-tinged counterpoint to the inanity of the goings-on. It sets the mood for a kind of shell game where the Coens put one in the uncomfortable position of trying to figure out if we're watching a comedy, who the hero is (there isn't one), and what is so important about the disc in question that leads to all this mayhem.

Credit the Coens for their deceptive use of the disc as the ultimate MacGuffin. The directors use the mayhem incited by Cox's disc to explore the current sad state of the human condition. The Coens have reached a nadir in their estimation of humanity. Not one person in this movie is exempt from being self-absorbed, ridiculously unintelligent, or exceedingly greedy. Fargo, at least, had the surprisingly crafty Chief Marge Gunderson (also McDormand) one could root for. Even the darker No Country For Old Men, had Sherriff Ed Tom Bell (Tommy Lee Jones), a decent man one could relate to. But the only characters that one may be able to sympathize with in Burn are the CIA Greek chorus played by David Rasche and J.K. Simmons, and even they show signs of limited intellect.

Don't take this the wrong way. I'm now convinced this may be one of the Coens' most successful and subversive movies. It is the absolute perfect way to explore themes that reside in our current collective consciousness. In a world where the righteousness of our wars are questionable, our constitutionally protected right to privacy has been squashed, and our financial markets are on the verge of collapse, what is a more apt allegory than this laughable story. Just like all the characters in this film, our political leaders are pointing fingers, watching their backs, and attempting to cover their asses from culpability. Pitt's performance may seem like it belongs in another movie's. But doesn't our president's conduct also seem that way, too?

Years from now, when we get to the end of our current state of affairs, and take a look back to sort it all out, we'll be the Greek chorus wondering how it happened, and what it all ultimately meant in the greater picture. And just like the two CIA officers, we'll probably share the same exchange:

CIA Superior: What did we learn?
CIA Officer: Uh...
CIA Superior: Not to do it again.
(pause)
CIA Superior: I don't know what the fuck it is we DID, but...

Movie Trailer: Burn After Reading

by Tony Dayoub



Here's the trailer for the Coen Brothers' upcoming film, Burn After Reading, scheduled to open on September 12th.


This one should be less in the vein of their Oscar-winning No Country for Old Men, and more like Raising Arizona. It's about two gym employees who try to blackmail an ex-CIA official after finding his diary.

The stellar cast includes George Clooney (Leatherheads), Brad Pitt (Babel), Frances McDormand (North Country), John Malkovich (Eragon), Tilda Swinton (Michael Clayton), and Richard Jenkins (Six Feet Under).

Click on the picture above for a look at the trailer, and let me know what you think.

DVD Review: No Country for Old Men - Appreciating the Unsung Heroes

by Tony Dayoub

So you've all heard about No Country for Old Men winning Best Picture at the Oscars this year. You've heard about the crafty Coen Brothers finally getting the praise they're long overdue. Javier Bardem has been all over the place campaigning for his Oscar... blah, blah, blah. But I thought that with the film being released on DVD last week, we'd sing the praises of some of its relatively unsung heroes.

Musings on the Academy Awards or How I Learned to Stop Worrying about Predictions and Love the Oscars

by Tony Dayoub

First Entry - 3:51pm: I've got my Filet Mignon ready to grill, Champagne chilling in the fridge, and will be checking in from time to time today. I will update the blog on random thoughts regarding the countdown to the Oscars. I'll also strive to keep a tally on how wrong I was on my Oscar predictions from my last entry. So keep checking in, and feel free to respond with your own thoughts.

Second Entry - 9:10pm: First upset of the night would have to be Golden Compass winning Best Special Effects over Transformers. Could it have been a case that Transformers' effects were too good to even be recognized as effects?

Oscar Picks 2008

by Tony Dayoub

The writer's strike is over, probably due in no small part to Gil Cates. Cates, producer of The 80th Academy Awards, was the only man in Hollywood sure that the Oscars would go on this year. Makes you wonder if he had some kind of back-channel access to the parties involved.

Whatever the case was, I am glad he made it possible to enjoy my favorite day of the year. There is a case to be made that it diminishes the art by rewarding those who spend money on Oscar campaigns. However, for a movie-lover like myself, there is no more glamorous or celebratory day for American cinema.

And though I may disagree on who should win the awards, here are my picks on who will win the awards.