![]() In No Country for Old Men they have struck their best vein of the stuff since Fargo, and this truly is a strange effect, since the movie manages to be very different from Cormac McCarthy’s novel through an extravagant, literal fidelity to a great deal of it. So maybe they are more like prospectors looking for movie gold: any gold, even if it hasn’t got their name written on it. Still, they can’t be after a single perfect film, since their best work falls into such distinct modes: quirky film noir ( Blood Simple, The Man Who Wasn’t There), offbeat comedy ( Raising Arizona, The Big Lebowski), mock epic ( O Brother, Where Art Thou?). And what about Intolerable Cruelty (2003), with George Clooney and Catherine Zeta-Jones, which doesn’t look like a Coen Brothers movie because it doesn’t look as if it was directed by anybody? ![]() ![]() What else could have driven them to their 2004 remake of the Ealing comedy The Ladykillers? Even if Tom Hanks is funnier in that film than our idea of Tom Hanks ought to allow, he’s not Alec Guinness. ![]() Joel and Ethan Coen often look like moviemakers in search of a movie as if their perfect film were waiting for them out there and they had to do something while they were looking for it. ![]()
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