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Tuesday 25 February 2014

A History of Multiplex and Celebration


“I shall always hold it as a beacon for anything that I may be able to do in the future” - Best Supporting Actress – Hattie McDaniel - Gone with the Wind - 1940

The Oscar awards or better known in the US as the Academy Awards is one of few ceremonies dedicated to the film industry. Dating back to the 1920s when doo-woop music sprung to life, black and white television was a luxury and pop-eye the sailor man showcased what we all see in modern gym advertisement, the Oscars is the oldest award ceremony followed by the Emmy awards (TV), Tony awards (Theatre) and the Grammy awards representing music and recording.

In May of 1929 the first Oscar award ceremony was held in the Blossom room of the Hollywood Roosevelt hotel in honour of movies released from August 1st 1927 to August the following year. Just as glamorous but not as rich, the venue was host to 270 people with fifteen awards on standby for potential winners. The price into the ceremony would cost no more than $5 as opposed to the grapevine whisperers speaking of numbers from $30,000 - $40,000 to attend an Oscar event today. The ceremony of 1929 was due to last no longer than fifteen minutes with the nominees announced prior to the event. Much different from what we see today, there was no element of surprise in the build-up as the winners were announced to the media three months before the event would take place. Such generous policy lasted up until 1940. The modern messiahs of Oscar coverage can thank The Los Angeles Times for breaking an embargo in 1940 when, much to the displeasure of the Academy, they published the winners of the event in its evening edition prior to the official ceremony. This is what led to the “sealed envelope” concept. Introduced in 1941, the sealed envelope turned out to be the most logical approach to concealing potential winners and is still used in raising the anticipation today.

Only a handful of famous names attended first Oscar ceremony. Some would go on to receive awards in years to come, others were just as surprised as the audience; among the winners were Frank Borzage (right) for best director on 7thHeaven; titled under “dramatic picture” and starring Janet Gaynor and Charles Farrell. It is the thirteenth highest grossing silent film in cinema history and went on to gross 2.7 million at the box office. Female protagonist Janet Gaynor went on to take the award for best actress in a leading role. The award for “outstanding picture” went to “Wings”; a story of two World War 1 pilot friends. Another creation of the silent movie era, Wings was directed by William A. Wellman and beat Frank Borzage’s 7thHeaven to the award for best picture.


History would show a dark day in New York’s Wall Street. Forever remembered as Black Tuesday, it was the crash of the stock market which began in October 1929. It is forever known as the greatest stock market crash in the history of the United States. Among this great depression saw the second academy awards held in Coconut Grove of the Ambassador Hotel. The Broadway Melody stole best picture, Warner Braxter took best actor for “In Old Arizona”, Hans Kraley was awarded for penning “The Patriot” and Twinkies are introduced to bakeries around the United States.


On November 10th 1931 the fourth annual awards was held at the Sala D’Oro in the Biltmore Hotel honouring movies released from August 1 1930 – July 31, 1931. A Free Soul starring Lionel Barrymore, Norma Shearer and Leslie Howard; it follows the story of an alcoholic defence attorney who is forced to defend his daughter’s ex-boyfriend on charges of murder. Nigel Barrymore went on to take the award for best actor and director Clarence Brown was nominated for best director in which he lost to Norman Taurog for “Skippy” which was based on a comic-strip by Percy Crosby. Six months later, in the year of 1932 the citizens of New York were witness to the opening of the Empire state building. On October 17th, pint sized crime boss Al Capone was sentenced to 11 years for tax evasion and the 5th Oscar award ceremony would follow on November 18th.

Held at the Fiesta room in the Ambassador hotel, the 5th Academy award ceremony was home to faces of old and new. Routine winners such as director Frankie Borzage picked up the award for best director for Bad Girl; a dramatic tale of ordinary people living mundane lives. It starred Sally Eilers and James Dunn. Released in 1931, Bad Girl was adapted from the novel and play by Vina Delmare, therefore picking up the award for best screenplay adaption also.

“A change is gonna come” – Sammy Cook
On May 10th 1940 Winston Churchill succeeded Neville Chamberlain as British Prime Minister, the Tokyo Olympics was cancelled and the 12th annual Oscar ceremony saw a new star in the making, one who paved way for many of her race to follow; Hattie McDaniel. Gone with the Wind was directed by David O’Selznick (Selzick International pictures) and starred Scarlett O’ Hara and Ashley Wilkes who play a historical romantic duo set against the backdrop of the American Civil war.  

Despite its two year delay, Selzinick’s film won the award for outstanding production. In the mix was Hattie McDaniel’s award for best supporting actress (the mammy) which was a significant achievement in itself because Hattie (left) was the first African America to win an Academy award. Accepting the award on February 29th 1940 Hattie was humbled; “Academy of Motion Picture Arts and Sciences, fellow members of the motion picture industry and honoured guests: This is one of the happiest moments of my life, and I want to thank each one of you who had a part in selecting me for one of their awards, for your kindness. It has made me feel very, very humble; and I shall always hold it as a beacon for anything that I may be able to do in the future. I sincerely hope I shall always be a credit to my race and to the motion picture industry. My heart is too full to tell you just how I feel, and may I say thank you and God bless you”.

Through-out the late 1930s and 1940s the Oscar award ceremony was consistent in its success and dedication toward onscreen recognition. In 1943 the Oscar awards introduced a new category of awards in honour of the pretentious work ethic of those who often go unnoticed; Best documentary feature (1943), Best Foreign language film (1947), Best costume design (1948) and best makeup and hairstyling (1981). In the mix was the celebration of best animated short, best visual effects and best sound mixing; most of these categories have withstood the test of time from the year 1940 right through to 2010. Such categories and more have gone on to boost the face of the Oscars and its recognition of celebrating every aspect of film craftsmanship. However not every category made it as far with some discontinued since the early 20s and late 60s. One such award is the best comedy picture which was strangely presented to a Lewis Milestone for “Two Arabian Knights”. Unfortunately, though the last movie you may have seen had you hurting with laughter, you will not see such gratitude in the awards today. In fact that award of 1929 was the first and last. Along with the extinguished is the award for best Dance direction (1935-1937), best original story (1928-1956) and best title writing (1928). An award for best title design was almost introduced back in 1999 but was later rejected).

That wonderful toy
There are many awards granted to those worthy, but not all of them come in the form of what we perceive to be an Oscar award, well to put it correctly, each statuette, no matter its design is an Oscar award per say. But, followed by the award for, let’s say the Academy Award for Technical Achievement, the John A. Bonner Medal of Commendation, the Student Academy Award and many more of that niche, the statuette in which signifies this event is The Academy Award of Merit; plated in copper, nickel silver and 24 karat gold, it stands tall and weighs approximately 8 ½ pound.  The appearance renders a knight holding a crusaders sword posing on a reel of film with five spokes attached. The five spokes represent the original branches of the academy which are the actors, directors, writers, producers and technicians; Pretty cool right?  So who the hell is Oscar? While the name of Oscar Wilde and many other fabricated but pretty nice philosophical related stories have circled in its time, Rebecca Murray of Hollywood Movie Entertainment has settled on one such story that the Academy has gone on to use; “the most popular story has been that Academy librarian - and eventual executive director - Margaret Herrick believed it looked a lot like her Uncle Oscar. After she made that observation, the Academy staff began calling the award 'Oscar.' The Academy didn't officially use the nickname until 1939”.

Pause for significance
Below are some notable millstones in the history of the Academy Awards.

14th Awards – In 1941, a documentary category appeared on the ballot for the first time.

20th Awards – The first special award to honor a foreign language motion picture was given in 1947 to the Italian film “Shoe-Shine.” Seven more special awards were presented before Foreign Language Film became an annual category in 1956.

21st Awards – Costume Design was added to the ballots for 1948.

25th Awards – For the first time, the Oscar presentation was televised. The NBC-TV and radio network carried the ceremony, honouring the films of 1952, live from Hollywood with Bob Hope as master of ceremonies, and from the NBC International Theatre in New York with Conrad Nagel as host.

29th Awards – The Jean Hersholt Humanitarian Award was established and Y. Frank Freeman was its first recipient.

36th Awards – The Special Effects Award was divided into Sound Effects and Special Visual Effects beginning with the honors for films released in 1963.

38th Awards – The Oscar ceremony in 1966 was the first to be televised in color.

41st Awards – The April 14, 1969, Oscar ceremony was the first major event held at the new Dorothy Chandler Pavilion of the Los Angeles County Music Center.

54th Awards – Makeup became an annual category, with Rick Baker winning for his work on the 1981 movie “An American Werewolf in London.” The Gordon E. Sawyer Award, recognizing technological contributions to the industry, was established.

74th Awards – The Animated Feature Film Award is added, with “Shrek” winning for 2001.

Media Intervention
The origin of the Oscar ceremony is of very little significance regarding publicity and advertisement. Far from what we see today, the Oscar ceremony was an intimate way of toasting to those representing the film industry and the future it long beholds. Unlike the drama and the significant glamour involved today, the first Oscar ceremony managed to stay hidden from the public eye. However the reception and coverage that followed would forever blow this little place of many characters into a global reception.  The privilege of being nominated and better yet, to win, was blown up by the little existing media of that time.  The second Academy Awards was significant in its enthusiasm and thirst of interest. And so, for the very first time the Oscar awards was broadcast on air for approximately one hour and of course going on to do so ever since. Do you think that mysterious broadcaster would have guessed the many ways we could watch the Oscars today?

In 1953, the first televised Academy Awards enabled millions through-out America and Canada to celebrate their favorite action star, tear-jerking love story, musical wonder and female protagonist, all from the comfort of their living room. Just like video tapes to DVDs, or cassettes to CDs, twas the dawn of the color television in 1966 that gave home audience an immersive interaction that would blow their socks off! A bit like the forceful concept of 3D today, the difference with the introduction of colour TV was that it actually worked, and we, as human beings have gone on to inherit nothing else since.

The Oscar award ceremony reached new heights in 1969 when it began broadcasting internationally in over 200 countries.



Saturday 22 February 2014

Her


Genre: Drama
Directed: Spike Jonze
Starring: Joaquin Phoenix, Scarlett Johansson & Amy Adams
Running: 126 min

Spike Jonze has played a hand in directing a plethora of peculiar films most noticeably favoring the short film genre and proudly credited for the hilarious writing involved in the Jackass movies and Bad Grandpa of recent. With the Academy awards around the corner Spike Jonze's latest is a mellowed take on one man's relationship with his computer (to be frank). Nominated for best movie along with Dallas buyers Club, 12 years a slave etc. Her will be credited for its relevance in terms of technology with a sci-fi twist lingering in the background. Its beautiful surroundings are not forced upon, rather trusting the viewer to engage in its leading protagonist which proves both humorous and heartfelt.

Theodore (Joaquin Pheonix) has an attaching occupation in writing letters of lust, heartbreak and celebration to people around the world; which is ironic regarding his own troubles. Theodore is content in his social life and happy to play 3D video games in his spare time. Flashbacks of his previous relationship tells a different story, showing the hesitance in Theodore as his wife awaits his signature on the divorce papers. The metropolitan concept is quite surprising, leaving us to assume that Theodore's time on earth is certainly not modern. We see this in the premise of his job occupation, the design of his room, the video games, and more importantly, the OS1; the world's first artificial intelligent operating system. To suit that of his lifestyle and workload Theodore purchases the advanced application resulting in a relationship like no other.

Much to his surprise, OS1 is a conscience, so much so that her name is Samantha (Scarlett Johansson). Samantha seems like the hole missing in Theodore's lonely lifestyle and fulfills an emotional attachment that Theodore has been seeking to overcome, and does so by falling in love with Samantha.

While the plot may sound peculiar on paper, some will be surprised to find themselves adapting to Theodore's ambition to make this work, and work it does; as from there we see the bright side of Theodore who, for the first time in a long time is able to share the joys in life with Samantha who is occasionally taken on trips around the beautiful city. Samantha is so impressed with seeing the world through Theodore's pocket camera that she starts to develop a personal attachment to Theodore making "Her" even weirder, but funny and heartfelt as the story progresses.

Her does well in its focus on certain people in Theodore's life, who, just like him, are not happy in the life they lead. One of these is the wonderful Amy (Amy Adams) who's relationship with Charles (Matt Letscher) is far from steady, seeking friendly comfort in Theodore who have so much in common, however the OS1 trend is something that separates any potential lust. And that is what Spike Jonze does so good in highlighting the wave of technology to a point of unsociable engagement, highlighting the technological advancement that exists among modern society, crafting a love story between Theodore and his computer so legitimately that we don't question it. Although I will say that "Her" could have knocked thirty minutes off as it is a little dragged out to the point of feeling that its once sense of direction was at a loss.

Her is pretty much a one man show, therefore there are not many characters to discuss apart from Joaquin Phoenix who gives a great performance in what looks a simple film to be part of, but it is the camera angles that capture the various emotions from Phoenix and his ability express circumstances through his witty dialog and facial expressions. Her is a great movie that is not for everyone (unfortunately). Its concept is silly, but one must recognise the human emotions attached to such a story. The beautiful scenery has gotten more attention than the finished plot. It will not win best film and it is not unfortunate considering what it's up against.

Overall: A really enjoyable, beautifully original love story that offers some laughs. Joaquin Phoenix is the only reason to see it, and while the concept is not for everyone, the presence of Phoenix can not be missed, even if the movie is an unnecessary length.


Thursday 6 February 2014

Robocop (2014)


Genre: Crime/Sci-fi
Directed: Jose Padilha
Starring: Joel Kinnaman, Gary Oldman, Samuel Jackson and Michael Keaton.
Running: 118 mins

At the hands of greedy Hollywood and lazy ideas, no movie is safe from being thrown into that big pile of remakes that cinemagoers know all too well. It is fair to say that modern directors in most cases, the up and coming, are the most gutsy when it comes to revisiting a cult classic such as Robcop. There are many reasons a director may pick up such a poisoned chalice but the legitimate reason is money. For fans of the original it is quite nonsensical but for the neutral and more importantly the younger demographic it is destined to find, it is clever and ultimately extremely rich. Way before remakes and Gothic robots was a time when director Paul Veroeven challenged James Cameron’s Terminator in 1987. Paul crafted his own futuristic tale of a dystopic Detroit bowing to the presence of a man in a machine who, considering the era and rating of the movie, it wouldn’t hesitate in blowing your head off – the violence was ripe and that is what signified 80′s cinema.

Twenty seven years down the line Jose Padilha directs a Robocop movie that is clearly modernised to suit the criteria of 21st century blockbuster; it’s visually teasing, not very action packed but sticking with the original plot respectively.

The year is 2028 and technological conglomerate Ominicorp is fighting for robotic protection on the streets of Detroit. At the centre of this debate is Raymond Sellars (Michael Keaton). Having inherited billions from his military robots overseas, for Raymond, America’s fight against such prospect is a hard pill to swallow. He is hell-bent on altering a machine based authority that citizens can look up to with trust and support. We are consistently reminded of the need for such placement through Pat Novak (Samuel Jackson) who asks the question; “Why is America so Robophobic”? This is supposed to create a giggle or two.

On the other side of the not-so gritty city is our protagonist Alex Murphy (Joel Kinnamen). Murphy is a family man and a respected cop. Unfortunately for Murphy his eagerness to put certain criminals behind bars results in a car bomb which explodes at close range. Shattered and burned to a crisp, the decision of Murphy’s last breath is down to his distraught wife Clara (Abbie Cornish). She is given a life changing decision by Omincorp; seek benefit in society by creating a robotic hero, or let Murphy die a hero’s death. Thanks to Dr. Dennett Norton (Gary Oldman) Raymond Sellar’s vision for a safer city pays off as Murphy awakens inside robotic armour.

This is a remake with little evidence as to why the city of Detroit is so ridden with scum that it needs such authority. I mean Detroit has never looked so clean. It is weak in its story, lacking any such motive as to why the town needs a saviour. It depends on the monologue from Samuel Jackson’s Pat Novak to keep you informed and to remind you why America needs this and how pro-American his own status is. Pat Novak, like Tom Pope (Jay Bruchel) and the arrogant Rick Mattox (Jackie Earl Haley) are the comedic twist to this drunken CGI fest. For instance Rick, who continues to call Murphy Tinman, plays the Wizard of Oz favourite “If I only had a heart” over a training montage.

Joel Kinnamen as Robocop can do no wrong. The scenes which show him interacting with his family are almost sympathetic. Murphy is aware of his new body from the second he awakens which opens the door for some quality time as Robodad. I cannot help but be appalled as to why Robocop’s suit is black? And what felt more ironic is that a former Batman requested it! We are teased from the beginning with the vintage metal outlook but hey, as a remake is the poison chalice, if you steer too close to the original or too far, you’re criticised. So yes, Robocop’s transformation to gothicbot should be criticised. He looks and moves more like the robotic ninjas from Robocop 3.

The overall movie is lethargic and timid with its characters. This underwhelming story involves more crocodile tears than The Notebook. It bleeds us dry with attempted emotion forgetting the purpose of the franchise; it lacks the action necessary to support its title and very little can be said for Joel Kinneman other than he played a robot. But hey, it is better than Robocop 3

Nitpicking aside, Robocop is entertaining in parts with a little bit of nostalgia. It lacked the necessary action that the original gave us, along with the grit and the memorable villain. I enjoyed the last 15 minutes, not because it ended, but because Robocop finally grows a pair of metal ones!



Street punk Luthor and potential movie plot?


According to IGN and some, the upcoming and yet so far Superman/Batman movie will take Jesse Eisenberg's Lex Luthor back to its origin; a tattooed street punk with intelligence. The intelligent part we know about, but the inked up lunatic? The prospect of a dark modernised mastermind sounds appealing. 

The video also touches on the Chinese whispers surrounding the potential plot. 



Head over to ComicBook.com for more information and expectation regarding Zack Snyder's anticipated return to metropolis. 


Wednesday 5 February 2014

Escape Plan


Genre: Action/Thriller
Directed: Mikael Hafstrom 
Starring: Sylvester Stallone and Arnold Schwarzenegger
Running: 116 mins

This review is not based on how old our protagonist is and how atrocious the movie is and why it is 30 years too late. In fact Escape Plan is surprisingly entertaining, however, if you will allow me to refer back to one of two leading stars; big Sly Stallone who may as well be having a dump for 100 mins because staring at his feces would prove more exciting than the dull performance he unfortunately leads.

All roads lead to this. Escape Plan is the result of The Expendables (and sequel). 

Ray Breslin is the messiah of structural security. This beefcake has seen many prisons, both inside and out because he has the most peculiar job of all in testing the security of various prisons in order to make them escape proof. Worried (for some reason) that prisoners are not been kept behind the tightest security, Ray's criteria is that of a hitman or a plumber, except each prison escape is worth a big pay cheque. The result of such escape is to grant national security some feedback on how to pump up their boundaries. They say Ray is the best in the world with fifteen prisons failing to keep him behind bars. However one prison is bound to go against him, right? Home to major criminals and Rottmayer (Arnie) The Tomb is one prison that is off the grid. So off the grid and so very dangerous that Ray can't resist the offer. 

Ray awakens in a technological and maze like environment. The prison sets the plot of escape, featuring a "partner", a "bad guy" and a "twist". Ring a bell?

The movie's villain is Hobbs (Jim Caviezel). Hobbs controls the entire prison and is hell-bent on maintaining Ray Breslin. Ray begins to realise he may have been set up on a road of no return, therefore seeking the help of Rottmayer, leading to the match up we have all been waiting for. 

Escape Plan is yet another attempted 80's throwback when Sly and Arnie dominated bloody masculinity. Escape Plan is not exactly that but it does resemble a certain Tango and Cash for obvious reasons. The on-screen chemistry from both Sly and Arnie is terrible and non-existent but the action scenes are satisfying. One can't complain when it comes to both stars standing side by side hosting a handgun each. Arnie to be fare is clearly desperate to revive his action hero status and does so in this return to form. Arnie's character Rottmayer is the legs and arms of this movie. His presence still holds up and respectively keeps this film from falling flat on its face; he is funny, violent and, well, Arnie. The same can't be said for Sly who advertises a dull character in Ray Breslin. We are not looking for anything spectacular from the man, and while I was generous in my review for Bullet to the Head, Sly is down right poor this time around with a boring character proving hard to like from the very beginning. Unfortunately for Sly we seek Arnie's appearance as soon as the title of the movie appears. 

Overall: Escape Plan is an entertaining meat-head-fest that offers a decent plot with a decent match up. However Sly's presence proved significantly poor, leaving all the work to Arnie. A better movie than The Last Stand, and not quite as nonsensical as The Expendables, one will enjoy it for what it is -a plan of escape with two ageing hero's. 







Tuesday 4 February 2014

Out of the Furnace


Genre: Crime/Drama
Director: Scott Cooper
Starring: Christian Bale, Wood Harrelson, Casey Affleck and Forrest Whitaker. 
Running: 116mins

Out of the Furnace...wow! What a cast we have here. Director Scott Cooper has managed to gather a collection of fine actors who try so hard to make this movie stand out. It does, kind of. 

There is a big gap between Crazy Heart (2009) and even further back with Austin Powers: The spy who shagged me (1999). Jeff Bridges picked up an award for best actor in Cooper's Crazy Heart respectively.

Out of the Furnace is a bleak outlook on the economic crises and its impact on every character surrounding the small town of Rust Belt, Pennsylvania. Unlike his brother, Russell (Christian Bale) is proud to work in the old mill which seems like the only place willing to feed the majority of blue-collar workers. Russell is struggling to cope after losing his missus (Zoe Saldana) to Wesley Barnes (Forrest Whitaker) following a drunken car crash. Fresh out of jail, Russell is desperate to put the past behind him. On the other hand younger brother Rodney (Casey Affleck) is haunted by his servings in the Iraq war. Desperate for money, Rodney takes up bare-knuckle boxing through local gambler and money launderer John Petty (William Defoe).

When Russell finds out about Rodney's blood sport antics he fails in a bid to make him see straight. From there we follow Rodeny down a dark road which leads him to Satan himself Harlan Degroat (Wood Harrelson). Harlan offers Rodney some fights, however Rodney is unaware of the potential outcome of dealing with such an individual.

It is Prisoners all over again as Wesley informs Russell of Rodney's disappearance leading to a build of anger and worry. Destined to take the law into his own hands, Russell struggles to cope with the possibility of never seeing his brother again.

Out of the Furnace is smothered with different characters offering various angles to a film that struggles to hold down an official plot. The scenes are wonderfully shot with the old mill signifying the dirty setting of a troubled town. Far from warm, the woods are the haunting surroundings to an environment struggling to stay on its feet. It is the habitants that live amongst the existing villains of the town who are finding it hard to pack up an live a better life else where. And that is where Scott Cooper's movie tries reeling you in to find sympathy in the movie's protagonist Russell (Bale) when really there is none.

Out of the Furnace is a negative movie based on negative characters caught up in a time of financial crises. The only female in the movie is supposed to be relevant in the life of Russell but adds nothing to the movie. The movie is dominated by males, with Forrest Whitaker, Affleck, Dafoe all performing out of there skin. And that is the small problem with this movie; the method acting is so outstanding that it brushes aside any room for a plot resulting in an underwhelming story. Sure, Bale was ecstatic as always along with Harrelson who is terrifying and unforgettable. It almost suffers from the "villain disease",when a cast of excellences are out-shined by the antagonist; LawlessGangster Squad, it happens and this just happened. The scenes involving Harrelson are the most memorable with a climax that is merely satisfying but to look back at the movie you understand why Out of the Furnace was not one of the most talked about movies. It came in under the radar following the fantastic American Hustle which is probably a bit unfortunate for Scott Cooper but these things happen.

Out of the Furnace is not a bad movie (as some critics have labelled it) but you expect the director to create something more extravagant with the actors at hand.

Overall: It is watchable and enjoyable in parts. Christian Bale and Woody Harrelson are the heart and soul of a movie with no obvious plot - but when there is one (relating Casey Affleck) it's over before you know it.











Prisoners

Monday 3 February 2014

Inside Llewyn Davis


Genre: Drama
Directed: Joel and Ethan Cohen
Starring: Oscar Isaac, Justin Timberlake, Carey Mulligan and John Goodman. 
Running: 104min

The Cohen Brothers, or better known to close friends (in which I am not) as Joel and Ethan, are known for their brotherly love on set. They have gone on to write, produce and ultimately direct some of Hollywood's finest movies. I have gone on to see a few such as Fargo (1996) and The Big Lebowski (1998). Both movies supply a comedic premise with a dramatic twist with Fargo offering a darker concept; one we have come to recognise in No Country for Old Men (2007) and True Grit (2010) A Cohen Bros. movie is renowned for leaving stones unturned with the credits most likely to show unexpectedly. It is a crafty way of film making, it's unusual but as a fan it's satisfying, but not for everyone. 

Inside Llewyn Davis is just that; grey skies, dry humour with little or no plot. However it is a recognised creation by the Cohens; meaning it thrives on your engagement regarding the protagonist, putting this musical and slightly depressing drama down to your consensus on Llewyn's troubles - if you think there is any. 

The year is 1961 and the scene of New York is frosty, so cold that the majority of folks spend their days listening to live music in the Gaslight cafe; an independent stepping stone for upcoming musicians. One such is Llewyn Davis (Oscar Isaac) who sets the tone of the movie by performing a wonderful song titled "Hang Me". Llewyn and his guitar is a recognised image but far from liked. Llewyn's past is one that tends to haunt him through-out and one that prevents him from achieving the solo height he so strongly feels he deserves. However his habit of moving from couch to couch in order to survive the cold sees his once close friends look upon him in despicable ways (ways in which I found myself disagreeing with, anyway). 

Llewyn Davis (Issac), Jim (Timberlake) and Al Cody
played by Adam Driver
Llewyn is not aloud forget his former partner in which they had wider success and to rub it in, close friends Jim (Justin Timberlake) and Jean (Carry Mulligan) are moving on from his burden. At the same time, Llewyn's hopes of financial regain hit a brick wall when his manager tells him that his latest album is not selling.  All of Llewyn's troubles seem financially focused along with the presence of Jean and his moral ambition to return a cat is what may seem to be the plot of this movie. 


But it is the travels of Llewyn is what is most engaging as the story doesn't necessarily unfold to anything, it just becomes deeper and more personal as he seeks to forget a past in order to help prolong a career that has struggled to pay the bills - you either ride along with Llewyn in support or to witness him fail. The characters in his life are placed to paint a picture of a man they either know too much about or nothing at all. Nevertheless, this is a Cohen Bros movie so there is no consensus regarding the leading protagonist. That said, the down an out character portrayed wonderfully by Oscar Isaac shows little or no personality but he is darkly humorous in parts and goes on to perform out of his skin for the most as everything you hear is live.

The trouble for some people seeing this movie may be just that; all style no substance. I found myself singing along from the off but I also enjoyed each of the character's dialogue and the simple film making involved within it. I can see where some people may despise this film - particularly as it ends in typical Cohen Bros fashion. 

Overall: Great characters portrayed wonderfully by Oscar Isaac, Carry Mulligan and not forgetting John Goodman. With a plot that is not entirely obvious, Inside Llewyn Davis thrives off self-motivation, ambition, selfishness and crude personalities, this musical story is simply crafted but may not answer all of your questions. 


Tomorrows review:
Out of the Furnace, starring Christian Bale, Casey Affleck and Woody Harrelson.