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Ambition and aspirations can lead to widely divergent paths and that certainly shows in Barton Fink , the latest film by Joel and Ethan Coen . Fink made headlines earlier this year by becoming the first film in Cannes Film Festival history to win best picture, best actor (John Turturro ) and best director (for Joel, who helms the brothers' works). Its appeal to an international jury of film judges comes from the fact that it's a movie that doesn't spell everything out for the audience, something that American films do too often and seldom to good effect. It remains to be seen whether deeper meanings lurk below the surface of this entertaining and disturbing film or if the Coens have created the film equivalent of those old Mad Lib games with the audience filling in the symbolism instead of parts of speech. Either way, Barton Fink 's style and dialogue make it one of the best cinematic trips this year. Turturro stars as the title character, a left-leaning playwright in the Clifford Odets vein who was making a name for himself in New York writing plays about "the common ma (eddieonfilm.blogspot.com....chive.html)
Not worth going out of your way to see, but worth keeping on if it comes onon TV. Will provide mild pleasure to fans of Jamie Foster, Tim Robbins ,andJohn Turturro (I enjoy all three). It would be interesting to watch thisback-to-back with Barton Fink , in which Turturro plays a polar oppositecharacter (us.imdb.com/title/tt0093029/)
Still, I was pleased Bardem won. He was just perfectly menacing, and not in a way you'd expect, in the role. And he knew how to carry that air cylinder in a way that made it seem like a natural thing to do. I like the Coen brothers approach to genre films, and I like it when they defy gravity as in BARTON FINK and THE BIG LEBOWSKI . (robertmonell.blogspot.com/)
As far as I'm concerned, the brothers' third film remains their best. I love Blood Simple , Raising Arizona and Barton Fink as well, but as far as I'm concerned, Miller's Crossing remains their most mature, accomplished work. They weren't busy mocking their characters (and the audience), seeking easy laughs with dimwitted characters speaking florid dialogue in funny accents, and their camera had calmed down as well. Instead, they just told a well-acted story of Irish gangsters in the South as they paid homage to Dashiell Hammett. Those were the days, at least as far as the Coens were concerne (eddieonfilm.blogspot.com....p-100.html)
Clooney was cool and sharp in his acceptance speech, but what he said was less important than what he was doing52;he was surfing, riding the crest of outrage that was pouring out of Hollywood. Here was a man who had stood up and was not scared by the power of Washington or the madness of Republicans or the madness of war. O.K., so maybe he was a little too self-satisfied. Think of the studio head in the Coen brothers' Barton Fink talking to the screenwriter: "This is a wrestling picture. The audience wants to see action, adventure, wrestling, and plenty of it. They don't want to see a guy wrestling with his soul52;well, all right, a little bit for the critics52;but you make it the carrot that wags the dog." And maybe he spoke a little too much about the historical greatness of the movie industry. "We talked about civil rights when it wasn't really popular," he said, "and we, you know, we bring up subjects. This academy, this group of people, gave Hattie McDaniel an Oscar in 1939, when blacks were still sitting in the backs of theate (www.vanityfair.com....oney200611)
The Coens, winners for "Barton Fink " in 1991, are back with "No Country for Old Men," based on the book by Cormac McCarthy , who won the Pulitzer Prize on Monday for his latest novel, "The Road." The film focuses on a hunter Josh Brolin who becomes the hunted after bagging the cash from a drug deal gone wrong. Tarantino, 1994 winner for "Pulp Fiction ," pays homage to "B" movies with his blood soaked slasher flick "Death Proof," which is being released as a stand-alone feature outside the US after disappointing box office results for the three hour plus double bill with Robert Rodriguez 's "Planet Terror." Van Sant, winner in 2003 for "Elephant ", returns with another tale of troubled teens in "Paranoid Park. (goldderby.latimes.com....y/2007/04/)
I'm a big fan of the first 'Maniac Cop' movie, which has one of THE greatexploitation taglines You have the right to remain silent. Forever. Onceagain director William Lustig ('Maniac ', 'Vigilante ') and writer/producerLarry Cohen ('God Told Me To', 'Q The Winged Serpent') team up for thisbetter than you'd expect sequel. Robert Z'Dar reprises his role as MattCordell the maniac cop , but like the original the supporting cast stealsthe movie from him, and in this case are the main reason to tune in. B-grade legend Bruce Campbell and Cohen regular Laurene Landon from thefirst movie put in an appearance, but the rest of the cast is new RobertDavi (Bond baddie in 'License To Kill '), and Claudia Christian (then bestremembered for her bit in 'The Hidden', now for her recurring role in'Babylon 5 ') as cops, and Leo Rossi ('The Accused ') as a creepy serialkiller who befriends Cordell. Michael Lerner ('Barton Fink ') plays theCommissioner, Charles Napier ('Supervixens') a TV host and Clarence WilliamsIII ('52 Pick-Up') a prisone (us.imdb.com/title/tt0100107/)
table /table Veteran cinematographer Roger Deakins is competing against himself at the Academy Awards this year, with nominations for #8220;No Country for Old Men #8221; and #8220;The Assassination of Jesse James by the Coward Robert Ford. #8221; /p p These are his sixth and seventh Oscar nominations #8212; he has never won. And in his typically self-effacing, dry British manner, he says he truly doesn #8217;t believe he #8217;s going to win this year, either. /p p Deakins, 58, is probably best known as the longtime director of photography for the Coen brothers. He has shot all nine of their movies since 1991 #8217;s #8220;Barton Fink , #8221; creating the signature imagery for films including #8220;Fargo, #8221; #8220;The Big Lebowski , #8221; #8220;O Brother , Where Art Thou? #8221; and their latest, #8220;No Country. #8221; /p p strong Q. What was your reaction to the two nominations? /strong /p p strong A. /strong It was a real surprise. I thought #8220;No Country #8221; had a chance but, you know, #8220;Jesse James #8221; didn #8217;t really get much of a relea (www.kansascity.com....99631.html)
If you've read the work of Nathaniel West or Horace McCoy, you'll understand that Hollywood was always a dreamland distorted by darkness . West and McCoy, whose 1930's novels would later become two of cinema's most depressing looks at shattered dreams (" The Day of the Locust " and " They Shoot Horses, Don't They? "), inhabited the Hollywood that the Coen Brothers' eponymous Barton Fink John Turturro becomes un-glued by - a place that's shiny and sunny yet slithery and decrepit. Fink (inspired by playwright/screenwriter Clifford Odets is a serious writer who comes to Los Angeles for what studio heads call "that Barton Fink feeling!" - never mind that Fink's usual solemn work will be filtered into a wrestling picture. Suffering from writer's block, he elicits the help of another hired gun, a Southern novelist who just happens to be Fink's literary hero John Mahoney doing William Faulkner), something that goes very wrong, very quickly. Meanwhile Fink's neighbor John Goodman in his creepy resident hotel continually pops in, the red wallpaper crawls off the walls and a woman turns up dea (movies.msn.com....ews=241150)
Ten to one odds that writer, and now director, Tony Gilroy is a Coen Brothers fan. He’s got an undeniable talent for wordsmithing, pacing and mood. Having worked in the Hollywood grist mill for years, he’s been sorrowfully squandered, making the most of thankless jobs hidden in the shadow of better known authors, adapting material by the likes of Stephen King and Robert Ludlam for the screen, or, worse, being chain-ganged as one of the half dozen monkeys responsible for making “Armageddon ” the pointed observational that it was. Born and raised in New York , but now working in sunny California, it’s not a difficult stretch to imagine that his own experience in the industry has been fairly Barton Fink -ish (www.wirenh.com....72474.html)
Suggestive of the tinkling, misted-over fugue states of QUINTET and THREEWOMEN, IMAGES riffs lyrically off Polanski's REPULSION . Where Polanski'sfilm is pitched somewhere between sixties horror and the dry joke-telling ofBunuel, Altman's version is lush, druglike, sensuously baroque. SusannahYork plays a children's writer in a remote Irish cottage who seems to bespending too much time indoors. (Were the movie not lost in obscurity, youmight think her an antecedent for Jack Torrance and Barton Fink .) As shecopes with the would-be-regular-guy puttering of her schmucky husband (ReneAuberjonois, in a role rightly intended for Michael Murphy ), two otherloathsome men flit into her life-the husband's buddy, an Irish lecherplayed by Hugh Millais, and a seemingly dead ex-lover, played by MarcelBozzufi. As these men appear to bleed into one another in York's mind, so dothey soon start bleeding into the cottage's Persian rug (www.imdb.com/title/tt0068732/)
This sort of zaniness was kept up all through the show, as before andafter commercial each break, there were all sorts of nominee lists fornon existent categories such as &Best Blow-Ups&, &Best Performance byRock Stars&, &Best Performances by women with guns&, &Best Performanceby Animals&, &Best Hairdos&, &Best Performance by Kids&, &Best DeathScene& and, funniest of all, &Best inanimate object&. The nominees forthis last category were: the scissors in Dead Again , the wallpaper in Barton Fink , the olive in Hot Shots , the water-bottle in Truth orDare&, the typewriter in Naked Lunch and Vanila Ice. The first annual&Live Time Achievement Award&, went to psychopath serial killer JasonVoorhees of Friday the 13th fame. After a montage of clips from allhis films (8 at that time) set to Frank Sinatra &s &My Way& MasterVoorhees took the stage to brag about his acting class, only to beunmasked by Dennis Miller , revealing Jon Lovitz underneath . In years tocome, Jason would be joined in this category by Jackie Chan , Godzilla ,The Three Stooges, Richard Roundtree and Chewbacca, before the powersthat be at MTV decided to ditch this award all together because it waslosing the silly aspec (us.imdb.com/title/tt0275878/)
As for the Coen films themselves, Ms Stevens seems to suggest that they are fluff, well-crafted fluff, to be sure, but fluff nonetheless. That's an interesting take on films like Fargo , Barton Fink , and Miller's Crossing , which offer cross-sections of American life and mores. Oh Brother Where Art Thou , which represents a syncretic mix of Christianity, roots music, Homer, and Americana, just to name a few. Even Dana herself admits that Coen Bros. films do possess philosophic ruminations (whether such ruminations are necessary or tenable is another matter). My point is that the Coens clearly have a point-of-view that transcends just craft (www.slate.com/id/2177685/)
Though some of us were also rooting for Paul Thomas Anderson 's There Will Be Blood, Joel and Ethan Coen 's brilliant No Country For Old Men was an entirely deserving winner for both Best Director (in their case Best Directors) and Best Picture. Their bloody, beautifully acted, poetic adaptation of Cormac McCarthy's novel was soulful, inventive, mysterious and truly horrifying. Though this is one of their best pictures , us Coen fans are also taking this as a win for Blood Simple , Miller's Crossing , Barton Fink , Raising Arizona , Â O Brother , Where Art Thou? and of course, The Big Lebowski . And you know, had No Country lost, don't think we wouldn't see Lebowski vet Walter Sobchak storming on stage screaming: Has the whole world gone crazy! Am I the only one here who gives a sh*t about the rules? So with that, congratulations to the Coens (moviesfilter.spaces.live.com....t=16072788)
After making his film debut in Raging Bull (1980), Turturro attended Yale University's graduate drama program and acted on stage in New York City, winning an Obie for Danny and the Deep Blue Sea (1984). He returned to film with The Flamingo Kid (1984); his other movies include Do the Right Thing (1989), Barton Fink (1991), Quiz Show (1994), for which he earned a Golden Globe nomination, Unstrung Heroes (1995), and He Got Game (1998). He wrote, directed, and starred in 1993's Mac , winning an award at Cannes for Best New Director (www.infoplease.com....61928.html)
Though some of us were also rooting for Paul Thomas Anderson 's There Will Be Blood , Joel and Ethan Coen 's brilliant No Country For Old Men was an entirely deserving winner for both Best Director (in their case Best Directors) and Best Picture. Their bloody, beautifully acted, poetic adaptation of Cormac McCarthy's novel was soulful, inventive, mysterious and truly horrifying. Though this is one of their best pictures , us Coen fans are also taking this as a win for Blood Simple , Miller's Crossing , Barton Fink , Raising Arizona , O Brother , Where Art Thou? and of course, The Big Lebowski . And you know, had No Country lost, don't think we wouldn't see Lebowski vet Walter Sobchak storming on stage screaming: Has the whole world gone crazy! Am I the only one here who gives a shit about the rules? (How could that movie never have won anything?) So with that, congratulations to the Coens. (sunsetgun.typepad.com/)
8.  And, the Oscar broadcast will feature some clip packages directed by top names in Hollywood. Among them, Michael Mann Miami Vice , Ali , The Insider looks at how America is portrayed in the movies, and Nancy Meyers The Holiday , Something's Gotta Give , What Women Want ) examines how writers have been depicted in films. I can tell you about the latter: as ink-stained wretches. (Remember Barton Fink ?) Believe me, this is when the Kodak Theater audience will laugh the loudest (www.deadlinehollywooddaily.com....02/page/2/)
Finally, though, even an excellent performance from Koteas would have justbeen more ornamentation on a hollow core. In wondering what went wrong with"Hit Me" it's worth a glance back at the source . Jim Thompson's fiction,however absurdist and paranoiac, is grounded in Depression-era socialtexture and by a kind of native critique of capitalism. Thompson's lonelydrifters are also fleshed out with hysterical Freudian motivations - thefeverishly Oedipal bellhop character in "A Swell-Looking Babe," there namedDusty, is a prime example. The creative team behind "Hit Me" seems to haveabandoned these contexts as unfashionable, and as a result the StillwellHotel and its ill-fated bellhop are unmoored from any meaning except asnoir archetypes. By that standard, "Hit Me" neither pushes the envelope ofabsurdist doom - after "Lost Highway " and "Barton Fink " a thing quitedifficult to do - nor does it reach the nearer goal of making us careabout Sonny's thwarted schemes and dreams (www.salon.com....viewa.html)
8.  And, the Oscar broadcast will feature some clip packages directed by top names in Hollywood. Among them, Michael Mann Miami Vice , Ali , The Insider looks at how America is portrayed in the movies, and Nancy Meyers The Holiday , Something's Gotta Give , What Women Want ) examines how writers have been depicted in films. I can tell you about the latter: as ink-stained wretches. (Remember Barton Fink ?) Believe me, this is when the Kodak Theater audience will laugh the loudes (www.deadlinehollywooddaily.com....ic/page/2/)
Quentin Tarantino (Palme d'Or for "Pulp Fiction ," 1994) will take a re-edited version of "Death Proof," his half of "Grindhouse," into competition. The Coen brothers ("Barton Fink ," Palme d'Or 1991) will have "No Country for Old Men" in competition. Gus Van Sant ("Elephant ," Palme d'Or 2003) will be in competition with "Paranoid Park." Outside the competition will be "Ocean's 13" by Steven Soderbergh ("sex, lies and videotape," Palme d'Or 1989) and "Sicko" by Michael Moore ("Fahrenheit 9/11," Palme d'Or 2004). (blogs.sltrib.com....rchive.htm)
Still, the Coens' dim, cynical view of human nature tends to prevail and they have bottomless contempt for the charlatans who think they're above it all52;including, to an extent, themselves. The brilliant surrealist meta-comedy Barton Fink may be the closest the Coens have come to autobiography; it was reportedly penned while the brothers were suffering from writer's block on Miller's Crossing and is choked with doubt about the whole creative process. In John Turturro 's Barton Fink , the Coens mercilessly send-up the pretensions of self-proclaimed artistes who know nothing of the fishmongers of whom they speak. Barton can pontificate endlessly about a theater of the common man, but he doesn't bother to listen to them (here John Goodman 's traveling salesman, who could tell him some stories) and he's too detached even to hack out a simple B-movie about a wrestler, an orphan, and/or a dame. His limitations become a cage from which he can't escape and his anguish manifests itself in an unexpectedly abstract final act that's like the literary equivalent of self-immolatio (www.avclub.com....brothers/2)
The rest of the cast and crew considered Smits a major improvement over Caruso, who was viewed as a real prima donna. Smits' presence apparently had a lot to do with the series jump in ratings last year (from the 29th show overall to the 8th).3.5. Who is Nicholas Turturro related to?- His brother is John Turturro . John co-starred with John Goodman in "Barton Fink ", and has appeared in many other films, including his recent turn as Herb Stempel in "Quiz Show ." John and Nick appeared together in Spike Lee 's "Mo' Better Blues" and "Jungle Fever", as well as "Men of Respect," and the John Turturro -directed "Mac." Their cousin(?) Aida also acts. She recently co-starred as Geena Davis 's best friend Tina in "Angie". She and Nicholas both appeared in 1994's independent film "Men Lie."3.6. Who played XXXX in episode YYYY?- Please refer to the episode guides [Q2.2] for full cast listings for each episode.3.7. How many different roles did Dennis Franz play on Hill StreetBlues? - Two. In the third season of the show, he appeared in a number of episodes as Sal Benedetto, a crooked, mean-spirited detectiv (www.faqs.org....nypd-blue/)
From Raising Arizona to Barton Fink to Buffy the Vampire Slayer the 1992 film with Luke Perry , not the TV show to The Hudsucker Proxy to Rob Roy to Fargo to Being John Malkovich to O Brother Where Art Thou ? to Adaptation to the upcoming Coen brothers project Hail Caesar and countless others in-between, NYC native Carter Burwell knows the fucking deal when it comes to scoring films. As the composer of choice for the Coen brothers, Spike Jonze , and Julian Schnabel , he cemented himself into my consciousness over hours and hours of enthralled film viewing. Here are a few of his greatest compositions, along with a really lovely song he did with Bjork for Being John Malkovich . This version was not included on the Soundtrack, and instead replaced by a nice Mark Bell remix. Just to whet your appetite for this kind of thin (palmsout.blogspot.com....chive.html)
Deakins� work with the Coen brothers has earned him critical acclaim on both sides of the Atlantic. "O Brother Where Art Thou ?" earned him BAFTA, American Society of Cinematographers and Academy Award nominations. For his work on "Fargo" he received American Society of Cinematographers and Academy Award nominations as well as Best Cinematographer citations from the New York Film Critics Circle and the Los Angeles Film Critics Association. "Barton Fink " earned him the Best Cinematography award from the National Society of Film Critics. His work on "The Shawshank Redemption " brought him the American Society of Cinematographers Award as well as his first Academy Award nomination. For his work on Martin Scorsese �s "Kundun " he received Best Cinematography citations from the New York Film Critics Circle, the Boston Society of Film Critics and the National Society of Film Critics as well as Academy Award and American Society of Cinematographers Award nominations. Deakins began working as a stills photographer before enrolling in Britain�s National Film School in 1972 (wip.warnerbros.com....leyofelah/)
With all of its tailor-made twists and turns, this type of tale is a slam-dunk for the Coens, and they gleefully take the ball and run with it. Everything about the film is pitch-perfect - the script, the casting, the editing, you name it. The cinematography is expertly handled as per usual by Roger Deakins, who has been the brothersâ DP of choice since â Barton Fink â. While there are a few signature Coen camera shots (the âfront bumper camâ eating up the asphalt, the obsession with characters whizzing past ânow enteringâ¦â/ânow leavingâ¦â highway signs), they are used judiciously and serve the narrative well. As per usual, itâs the masterful implementation of little details (the use of ambient sound, subtle POV perspectives and an uncanny ability to milk suspense from focusing on the most mundane objects) that make this very much a âCoen brothers film (digbysblog.blogspot.com....chive.html)
Raising Arizona : Another Holly Hunter offering from 1987. This Coen brothers farce still grabs you and never lets go, all accompanied by that yodeling score. Granted, I think Miller's Crossing is still the Coens' best film and though I eventually grew tired of them (I haven't liked anything after Barton Fink , Raising Arizona is still pure entertainment (eddieonfilm.blogspot.com....chive.html)
Raising Arizona : Another Holly Hunter offering from 1987. This Coen brothers farce still grabs you and never lets go, all accompanied by that yodeling score. Granted, I think Miller's Crossing is still the Coens' best film and though I eventually grew tired of them (I haven't liked anything after Barton Fink , Raising Arizona is still pure entertainmen (eddieonfilm.blogspot.com....abel/Hawks)
Steve Buscemi has appeared in more than 80 films, but he is best remembered for playing creepy criminals such as Mr. Pink in Reservoir Dogs (1994, by Quentin Tarantino and Carl the kidnapper in Fargo (1996, by the Coen brothers ). Buscemi, a former New York City fireman (1980-84) broke into films with a leading role in Parting Glances (1986). During the '80s and '90s he earned a reputation as the "king of the indies" for his many appearances in small, independently produced movies. Buscemi usually plays squirrelly, "funny looking" guys and has appeared many times in movies by Tarantino and Robert Rodriguez , as well as films by the Coen brothers, including Miller's Crossing (1990), Barton Fink (1991) and The Big Lebowski (1998). The kind of actor who makes even small roles memorable, he has also appeared in mainstream blockbusters such as Con Air (1997, with Nicolas Cage ), Armageddon (1998, with Bruce Willis and The Island (2005, with Ewan McGregor (www.infoplease.com....scemi.html)
For more than a decade now, I've lived in a critical wilderness when it comes to the Coen Brothers. I was a huge fan of the siblings from the moment I saw Blood Simple back in 1985, through the great fun of Raising Arizona and the exquisite Miller's Crossing . I liked Barton Fink a lot, though something of their style was starting to strike me as repetitive. When Fargo came and seemingly the entire critical world ravished it with hosannas, I felt as if I stood alone thinking the movie was overrated and the Coens were stuck in a rut, a feeling that only grew over the course of their next films, so much so that I skipped offerings such as the ill-advised remake of The Ladykillers and Intolerable Cruelty . When No Country for Old Men started garnering raves, I was skeptical as I had been post- Hudsucker Proxy, partly as self-defense so as not to be disappointed. Now I've seen No Country for Old Men and no one is more delighted than I am to say that Joel, Ethan and I have met up again on the same pat (eddieonfilm.blogspot.com....chive.html)
The dialogue propels the film, especially when delivered by Weller and Judy Davis . Davis plays Joan Lee, Bill's wife, as well as Joan Frost, another woman Bill meets in the fictional world of Interzone. Davis manages to create two wonderfully distinct characters, one of whom has a fascination with injecting bug powder into her breast. With this performance and her work in Barton Fink and lead in Improptu last year, her failure to earn an Oscar nomination goes down in Academy history as one of its worst outrages. There also are nice turns by Ian Holm as Joan Frost's husband and Roy Scheider , in an all-too-brief appearance, as Dr. Benway. With Naked Lunch , Cronenberg creates a film of dreamlike quality. Unfortunately, the audience wakes up too soon and spends the rest of the film trying to recall what they saw while they slept. The dream was certainly interesting, but it was too long, too disturbing and too disjointed to want to experience it twice. (eddieonfilm.blogspot.com....chive.html)
Almost as if we&re cheated out of seeing each subplot through tocompletion, No Country for Old Men jumps around not in its timesequencing, but with its time lapses. Events most viewers woulddetermine to be crucial to witness are not shown, instead displayingaftermaths and subsequent events that are supposed to appease ourwandering minds. While this method of storytelling is both radicallyunique and faithful to the source material, it lessens the appeal togeneral audiences who expect basic information to be served up in arelatively understandable manner. Here is a film that actually appealsto critics more than to fans, and sadly the balance is a littleoff-kilter, resulting in too much Barton Fink and not enough Fargo.Although one gets the distinct feeling that the Coen Brothers chosethis novel based on the similarities in its story and narrative totheir own style and previous films, the result is one that still feelsspecifically like a Coen Brothers movie, despite the adaptation ofanother&s stor (www.imdb.com....ercomments)
The Coen brothers (Joel and Ethan) are the most innovative and, perhaps, thebest filmmakers working today. Or they at least rank along side the likes ofMartin Scorsese and rising director star Quentin Tarantino . Think about it: Blood Simple was the best film of 1984; Raising Arizona was the bestfilm of 1987; Miller's Crossing was the best movie of 1990; Barton Fink was the best movie of 1991; and Fargo was the best movie of 1996. Nowcomes their latest effort, The Big Lebowski , which, while it isn't inquite the same league as the above films, is still one of the mostthoroughly entertaining movies of 1998 (us.imdb.com....ercomments)
A big, amiable character actor with dozens of movies to his credit, John Goodman is still perhaps best known for his portrayal of the blue-collar husband and father on TV's Roseanne (1988-97). A Missouri native, he moved to New York in the late 1970s to find work as an actor. By the mid-'80s Goodman was on Broadway and getting parts in movies, TV commercials and television shows. The long-running role of Dan Connor on Roseanne made him famous and earned him six Emmy nominations. His turn as an escaped felon in the Coen brothers ' comedy Raising Arizona (1987, with Nicolas Cage proved he was just as likable on the big screen, even while playing characters of questionable integrity. Since 1989 he has been a frequent host and guest on Saturday Night Live and has had great success doing voice work in such animated features as The Emperor's New Groove (2000) and Monsters, Inc. (2001, with Billy Crystal ). A frequent player in the Coen brothers' movies, he has appeared in Barton Fink (1991), The Big Lebowski (1998) and O Brother , Where Art Thou? (2000, starring George Clooney ) (www.infoplease.com....odman.html)
In her session, 10 Things You Can Do Today to Prepare for Oracle Fusion Applications , Nadia Bendjedou turned that creepy feeling of inevitability into a practical guide. "The title of my talk is a bit misleading," she told her audience that earlier on had lined up down the long, Barton-Fink-like hall at the West wing of San Francisco 's Moscone Conference Center to get into the crowded session), "because I'm going to talk about things you can do right now to extend the value of your applications, not just things you should do to get to Fusion. (www.regdeveloper.co.uk...._ten_tips/)
The Coen brothers have always been fond of creating characters not just on screen, but off. For the restoration of their first film "Blood Simple ," the Coens went to the trouble of including an introduction from Mortimer Young, a dapper (and completely fake) older gentleman whose company Forever Young Films was credited with the newly struck print of the 1985 thriller. "Blood Simple " also marked the introduction of Jaynes, one of the most respected film editors in the business, if one of the most elusive. In addition to penning introductions to the published versions of the Coens' screenplays for "Barton Fink ," "Miller's Crossing" and "The Man Who Wasn't There," Jaynes was celebrated as one of Entertainment Weekly 's 50 Smartest People in Hollywood last year and had been previously nominated for an Oscar for "Fargo" in 1997. However, when Variety checked whether Jaynes was a member of the American Cinema Editors organization, they heard crickets. Don't fear the same awkward silence on Oscar night if "No Country for Old Men" wins best editing; when asked in 1997 what would occur if Jaynes won for "Fargo," Academy executive director Bruce Davis responded, "The Oscar will simply be accepted on behalf of the Academy by the presenters (www.ifc.com....ive-no.php)
SPOILER: Steve Buscemi dies in nearly every Coen Brothers film in which he appears (with the notable exception of The Hudsucker Proxy (1994)). Additionally, with each successive role his remains are smaller; in this film, we only see half of his leg in the chipper-shredder. (See also Miller's Crossing (1990), Barton Fink (1991), The Hudsucker Proxy (1994), and The Big Lebowski (1998)) (www.imdb.com....282/trivia)
The first one that springs to mind is THE moment from Chantal Akerman 's "Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles." So many films have little flaws that I love. Perhaps the most fortuitous one is the pelican that plops into the water and provides the visual period (as in punctuation) for "Barton Fink ." This was happenstance - but the Coens knew a perfect moment when they were lucky enough to capture i (sergioleoneifr.blogspot.com....k-for.html)
SPOILER: Steve Buscemi dies in three of the five Coen Brothers films in which he appears (with the notable exceptions of The Hudsucker Proxy (1994) and Barton Fink (1991),). Additionally, with each successive role his remains are smaller: in this film, his ashes blow all over The Dude when Walter scatters them at the ocean. (See also Miller's Crossing (1990), Barton Fink (1991), The Hudsucker Proxy (1994) and Fargo (1996). (us.imdb.com....715/trivia)
H.I.’s curious phraseology and distinctive accent operate at a formal level to define both his character and his hayseed heritage. As “Regional Independents” Joel and Ethan Coen have spread their film wings right across the extensive lands of the United States. Blood Simple and Raising Arizona document the South-West, Barton Fink (1991) and The Big Lebowski are each set in Los Angeles and Fargo is perhaps the most prominent film ever to capture the specific culture of the American Mid-West. The Coens have acquired a reputation for a certain kind of ethnographic expression, exploring the specific factors that contribute to defining particular cultures. Todd McCarthy is unequivocal in his praise, stating that the Coens (www.thefilmjournal.com....coens.html)
Cult Classics and Career-Making Roles In their long and varied career together, The Coen Brothers have made an almost ridiculously long list of cult classics: Raising Arizona , Fargo , Barton Fink , The Big Lebowski . They've created infamous characters, quotable lines, and sparked the career of many of their regular actors: Holly Hunter rose from obscurity with her star turn as a baby loving police officer in Raising Arizona (1987), and Frances McDormand received an Oscar for her role as pregnant police officer in Fargo . John Goodman , Steve Buscemi , and John Turturro frequently appear in the Coen Brothers films (worldfilm.about.com....others.htm)
The major problem is that after the Men 's Adventure Movie plot comes to an end, there are still several more scenes that serve to wrap up Cormac McCarthy's thematic concerns. The scenes are well-done, (with one exception) well-acted, and, in some ways, they feel a lot more like what we're used to from the Coen Brothers (think the "philosophical" dialogue scenes from Barton Fink , Miller's Crossing , or The Man Who Wasn't There ), but compared to everything that came before, they're flat. And there's too many of them: I got the same sense I had at the end of the movie version of Return of the King one ending would be enough, we don't need three or four. Of course, Return earns those endings (in a way) because they're meant to cap off 8+ hours of epic moviemaking. With this movie, though, they weigh everything down by making too many of the movie's themes explicit (foragerblog.blogspot.com/)
Anyway, Transformers . You'd think a movie about huge robots kicking the tin out of each other would be great, right? Well, it is. For about twenty seconds . That's how long it takes for the CGI to get boring. It just seems rushed and so chaotic you can't focus on a damn thing, Ironically, before the robots arrive, it was actually shaping up to be a pretty good movie; once you get over the fact that Shia LaBoeuf's name translates directly as Shia the Beef, he's actually pretty entertaining, even if it was obvious that he was getting all the best lines in the script for that very reason. John Turturro was as annoying as ever- anyone who's seen Barton Fink will know exactly what I'm talking about- but the gold medal in that respect has to go to whoever out of John Rogers, Alex Kurtzman and Roberto Orci decided that we needed to hear Optimus Prime say 'Whoops, my bad'. For the love of God, NO. Bad screenwriters. BAD. When he said it, me and the guy behind me in the cinema breathed out a deep 'Jesus CHRIST' in perfect syn (ellinikos.blogspot.com/)
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