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| Left to right: Joel and Ethan Coen |
When I think of my favorite directors, I usually go by a criteria that reflects what I look for in film. To date, no single (in this case two) voice has been more consistent than Joel and Ethan Coen. Reflecting Americana through its numerous decades, it almost seems like they are the quintessential voice as they jump from genre to genre with bad haircuts in hand. With the upcoming release of Inside Llewellyn Davis, I decided to catch up on every film that they directed and rank them in order of preference, which turned out to be harder than I imagined.
The inspiration for this list largely came to a recent series done by the podcast Auteurcast that got me thinking about the missing spots. As I have filled the gaps, I have finally seen them all and like most people, I come with my own thoughts on which ones are truly great and which ones are underrated. The joy is that some of my favorites only came after multiple viewings, so who knows how accurate the list will be once I watch a single one of these ever again.
The inspiration for this list largely came to a recent series done by the podcast Auteurcast that got me thinking about the missing spots. As I have filled the gaps, I have finally seen them all and like most people, I come with my own thoughts on which ones are truly great and which ones are underrated. The joy is that some of my favorites only came after multiple viewings, so who knows how accurate the list will be once I watch a single one of these ever again.
There is something amazing about watching a Coen Brothers film, if just because of their technique. With plenty of wit that ranges from screwball to pitch black, there is not one single era better than another. If anything, they have a continual record of improving and making entertainment that is always challenging on some metaphysical level. They're odd little films and without a doubt the most enjoyable. With The Man Who Wasn't There, I have finally crossed off every film, and the element of surprise and awe was there till the end.
Again, I know that my list may come across a little unorthodox to popular perceptions of Coen Brothers, but I will rank these films with my reasoning from Best to Worst.
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| Michael Stuhlbarg |
A Serious Man
The Coens have reveled in tackling the uncertain and to date no film has been able to explore it more than this very personal look at a Jewish family facing temptation and dealing with phone calls from BMG Music. It may at times feel understated and lacks the flair of every single other film, but the layers are more philosophical and get to the root of the uncertainty of doing the right thing. Occasionally funny, they haven't made a film with more perplexing content than this suburban analysis.
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| Frances McDormand |
Fargo
It was around the fourth viewing that this film just clicked. Once you look beyond the accents and look at the fantastic performances by Frances McDormand and Steve Buscemi, you get this odd little crime story that put the directors on the map. Jam packed with memorable scenes and one of the quirkiest screenplays of the 90's, this is definitive Coen Brothers and probably one of their most revered. It is bizarre and tough to get into, but once you do, it is definitely worth the ride.
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| John Turturro |
Barton Fink
Most cinephiles are writers, and when those two paths cross, it is impossible not to admire a narration of frustrated writer's block. Barton Fink proves to be one of the most successful and entertaining examples of this, as it follows titular Fink (John Turturro) in a story that not only analyzes the Hollywood system, but also what it takes to be a writer. Stick around for a mind blowing final act in which everything becomes insane and you become depressed realizing that John Goodman is still not an Oscar nominated actor.
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| Javier Bardem |
No Country for Old Men
Their Best Picture winner that also helped to put Javier Bardem on the map as the quintessential villain actor (see also: Skyfall). Here, the story of one sheriff's (Tommy Lee Jones) retirement turns into a game of cat and mouse that makes Fargo look like Sesame Street. It is plenty dark and bleak, but the film succeeds due to its intricate layout that slowly unravels on itself and continues to challenge the genre. In the decade, no character was as menacing or captivating than Anton Chigurgh (Bardem), who will kill you with a cattle prod if you lose a coin toss. Now that is sadistic.
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| Billy Bob Thornton |
The Man Who Wasn't There
The last on my list to be seen was also one of the finest, most shockingly undervalued films that they ever made. The attempt to modernize the film noir genre is amazingly done with a heavily silent protagonist (Billy Bob Thornton) and one of the greatest supporting casts ever assembled (including a great turn by the late James Gandolfini). It is a predecessor to the bleak era of No Country for Old Men, but it is also stranger. However, nothing seems more poignant than them making their protagonist a barber, especially since a trademark of theirs is terrible haircuts. I really wish that Thornton worked with them more, as he captures the film noir lead role to perfection in ways that call back Humphrey Bogart. With gorgeous cinematography, this film is no exception. It is another captivating entry.
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| Nicolas Cage |
Raising Arizona
Their first straight-up comedy is one of the strangest, most intriguing films of their entire career. With H.I. McDunnough (Nicolas Cage) being a fugitive who decides to kidnap babies to raise as his own, it quickly turns into a mix of absurd, Looney Toons-style frivolity that never manages to ruin the realism of the story. The film's iconic piece in which McDunnough steals diapers and escapes into the streets is one of the Coens' best scenes, if just for the sheer audacity and fun that they mixed into one damn impressive scene. It was more than comedy. It was just great directing full of subtle cues and personality traits that would become more refined with time.
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| Brad Pitt |
Burn After Reading
Of their recent work, this is probably their most divisive. Some consider it too stupid and unfocused while others love its take on C.I.A.-meets-gym employees story that only gets more ridiculous and messed up as it progresses. For me, I fall close to the admiration side, largely because the Coens, even when making a throwaway comedy, can't do it without intricacy. Completing George Clooney's "Idiot Trilogy," this is a film packed with great performances and introduces Brad Pitt into the mix in ways that makes you wonder why he doesn't work with them more often. Then again, the true beauty of the story is that the motives all stemmed from one gym employee (Frances McDormand) wanting to get money for liposuction. Now that is their most subtle piece of genius.
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| Hailee Steinfeld |
True Grit
It does seem a little bogus that their most successful film to date financially is a remake of a John Wayne classic. Nonetheless, the Coen Brothers' first foray into westerns is one of the best that the genre has produced in the past decade. With another excellent turn by Jeff Bridges and a spectacular debut by Hailee Steinfeld, this film continues their winning streak that will hopefully continue this year. If nothing else, the script is also one of their most effectively witty and fun. I may rank True Grit a little low on this list, but don't take that as an insult. These directors have produced a lot of top notch work, and to see them still succeeding so effectively explains why they are one of the definitive voices of American cinema.
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| George Clooney |
O Brother, Where Art Thou?
One of the oddest moves in the Coen Brothers career involved making an epic of the Great Depression era set to music based off of Homer's "Odyssey" of all things. Nonetheless, this film is packed full of memorable nods to the era and features a Grammy-winning soundtrack that almost eclipsed the film's popularity. It is a great nostalgia ride and holds a special place in my collection as the only film that me, my father, and grandfather all have a strong admiration for. That move alone is unprecedented and reflects why this is a great success story.
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| Tim Robbins |
The Hudsucker Proxy
In the vein of Raising Arizona, this attempt to break into the mainstream wasn't necessarily a success upon its release, but its fans prevailed. With a lot of throwback screwball humor and sight gags galore, this is one enjoyably madcap frenzy that shows the directors having a lot of fun. With assistance from old coworker Sam Raimi, this tale of trying to sell a circle is one of their best examples of symbolism mixed with the absurd. Stick around for the dialogue, which at very least successfully recalls the good old days of optimistic, fast talking guys and gals.
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| Gabriel Byrne |
Miller's Crossing
No doubt the Coen's best use of hats in a movie. This gangster flick that started off their run in the 90's may be a throwback to the classic genre films, but it is also just a fun ride. With a solid story, the real beauty is in the execution of this film, which begins to show the director's ability to fill a scene with countless background moments that pop with life. It manages to begin the track record of success off beautifully and is one of the best stepping stones to their lucrative and exciting career.
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| Jeff Bridges |
The Big Lebowksi
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| McDormand |
Blood Simple
While I cannot find too much to dislike about Blood Simple, I feel like it is a debut that I appreciate more for what came afterwards. It showed the directors gearing up for a promising career with the introduction of their muse Frances McDormand and a gritty story that has plenty of clever technical cues. It may not be the most impressive of debuts, but their effort here definitely makes it an essential viewing, if just to know the origins of the modern masters.
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| Tom Hanks |
The Ladykillers
All that I'm saying is that when the Coen Brothers and Tom Hanks get together on a project, I expect it to work almost as greatly as George Clooney or Jeff Bridges. Hanks is one of the more ingenious casting decisions and thus makes his turn in the Ladykillers somewhat of a disappointment. With two back-to-back subpar films, the directors had one of the shortest slumps in history. While this is not an entire waste and does feature plenty of entertaining moments, it comes across as an average comedy of its time, and that is acceptable, if a little disappointing.
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| Catherine Zeta-Jones |
Intolerable Cruelty
The middle film in George Clooney's "Idiot Trilogy" that suggests that it should have only been two films. I am not entirely sure what went wrong with this film, but the title feels like the consensus review. The sooner that we forget about this film, the sooner we can go back to remembering the greatness of the Coen Brothers.
What is your favorite Coen Brothers movie? Do you agree or disagree with my rankings? Feel free to leave your thoughts in the comments. Also, can't wait for Inside Llewellyn Davis, which is looking to be another home run.
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