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For whatever reason, the Coen Brothers' comedies (such as Raising Arizona, The Hudsucker Proxy, and The Big Lebowski) have always garnered less critical attention than the filmmakers' more serious fare (such as Blood Simple, Barton Fink, and Fargo)...

The Ladykillers is an interesting concoction - a faithful update of the original Ealing comedy cooked in vat of Coen Brothers' seasoning. Even though this is based on the 1955 British film of the same name, those unfamiliar with The Ladykillers' p...

Miller’s Crossing, the Coen Brothers’ third film (following Blood Simple and Raising Arizona) introduced the kind of comedically-tinged approach they would employ for some of their darkest and most compelling films, including the criticall...

Expecting normalcy from a Coen Brothers production is a pointless endeavor, but anticipating brilliance isn't outlandish. Their latest feature, which has about zero box office potential, provides plenty of the latter and a little of the former. It�...

O Brother, Where Art Thou? is essentially Homer's "The Odyssey" by way of the Coen Brothers with an assist from Preston Sturges (the title comes from the Sturges film, Sullivan's Travels). Or, to put it another way, it's a period piece road movie ...

Masters of audacity, the Coen Brothers continue to amaze with their versatility and, unlike many who have achieved success, they have shown no inclination to slip into a comfortable groove. When one scans their joint resumes, it becomes apparent t...

Wow. Just wow. Every year, movie theaters bring us their share of surprises – both good and bad. Suburbicon goes immediately to the front of the line of contenders for the most disappointing film of 2017. George Clooney, the Coen Brothers, M...

If I were to rank The Big Lebowski, I’d place it in the upper-middle tier of the Coen Brothers’ catalog. It remains one of their most oft-quoted works and arguably their biggest cult classic. A showcase of offbeat humor—some of it genuinely ...

A wonderful thing about Shakespeare’s canon is that those plays can form the vehicles by which any director’s unique vision can emerge. Laurence Olivier, Orson Welles, and Kenneth Branagh all recognized this. With The Tragedy of Macbeth, Joel ...