The Man Who Wasn't There Streaming
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3.0 de 5 estrellas
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If yous like the weird David Lynch movies like Blue Velvet or Mulholland Drive, yous'll like The Man Who Wasn't At that place.
In a nutshell, this is a movie about a 1940s dull, deadpan, chain smoking man of few words living a boring life. He tries to get a more interesting life, but to do that requires the other people in his life to cooperate. And they are equally flawed as he is tiresome and ho-hum. He fails. Badly.
I say this picture is David Lynch-like because the characters are weird. No one acts similar they should. No one has normal intuition. And so throw in some interaction with conflicting spaceships. But do all of this with good actors and fantabulous camera work and a decent story line, and you go this movie... annoying but interesting.
The fine art firm snobs volition definitely requite this movie five stars. I give it three because in the real world, there's enough logic and normal people to forestall near of the things in this flick from ever happening. Oh, and the likelihood of the teenage girl played by Scarlett Johansen trying to orally service the dullard, deadpan, chain smoking lead character - equally he's driving her home - is slim to none. Even the art house snob watching this movie should knock information technology out of the 5 star range for that stupid scene alone. No teenage girl, living or expressionless, would ever desire to put lipstick on this guy's dipstick.
So three stars. You'll cease watching the pic, but y'all won't be raving nigh information technology after.
A viii personas les pareció útil
4.0 de 5 estrellas
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"The Homo Who Wasn't There" is the Coen brothers near misreckoning film. While it shares the nihilistic themes of their well-nigh original work ("Barton Fink," "Fargo") information technology is mercilessly bleak and, save for a brief, bravura plough by Tony Shalhoub every bit a maniacal lawyer, well-nigh wholly devoid of humor.
If James M. Cain had tried to write "The Stranger," he might well have come up with this strange cocktail. The central conceit is that our taciturn protagonist's existence is so insubstantial it manifests the breakthrough notion of superposition. (Heisenburg's uncertainty principle fifty-fifty makes a cameo.) Filmed in color past the great Roger Deakins, who and then desaturated and remastered the last stock into a terrifically crisp black-and-white impress, the plot's many twists and turns play out before the solemn rhythms of Beethoven.
As usual, The Coen's language is gorgeous, and their screenplay contains some of their most thoughtful musings on life. The cast, featuring many of the Coen's "regulars" (Shalhoub, Frances McDormond, Jon Polito, Michael Badalucco) are their usual sturdy selves.
And overall it is achingly close to perfection.
Merely.
As much as I may admire the script'south originality and wordcraft, its cinematography and ensemble piece of work, Carter Burwell's score, etc. I can non get past Billy Bob Thornton, inexplicably bandage in the lead part of barber Ed Crane. Wait, I am certain Mr. Thornton is a nice, intelligent guy. And some of his line readings are fine (his terminal speech, in particular, is perfectly delivered)….Just to me, as well oftentimes there is something ineffably off nearly his performance. It is too mannered, too self-aware; and in moments dangles perilously shut to parody. The Coen brothers have such a grand repertoire of fine actors with whom they have worked, and so many of whom would have been improve suited to the laconic lead role circa 2001: John Goodman, John Turturro, Steve Buschemi, etc. What on world convinced them to cast Mr. Thornton?
Sigh. Despite my misgivings most the lead, I greatly adore The Man Who Wasn't At that place, and put information technology in my Top Three Coen Brothers' works.
A 20 personas les pareció útil
4.0 de v estrellas
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fantastic cast - Thornton *and* MacDormand, oh yeah! non to menation Gandolfini, Johansson, and even Badalucco and Shalhoub, not ordinarily a favorite. Really excellent performances all around. The blackness and white cinematography was perfect for creating the perfect tone for the mid-century setting. And the plot was actually expertly crafted, fitting various pieces unexpectedly into an interlocking puzzle that becomes a beautiful sculpture. Except for that one element that was just... incongruous. And that one turn that Johansson's graphic symbol makes that completely cancels every other portrayal of her character. Did they but run out of money and have to come upward with this B grade ending? Did the screenwriter quit or dice beofr the screenplay was finished/. So pleased with the enjoyable experience of the first three fourths of this pic; so disappointed and befuddled by the ending.
A una persona le pareció útil
3.0 de five estrellas
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This got a lot of critical acclamation. To me the story was not that interesting and there are no characters in this movie that yous can root for. Frankly its a very depressing black and white picture show. Its a chance for Billy Bob to be in a moving picture that looks like something from back in the day with Bogart or something. But its not a very interesting moving-picture show. Very slow at times and all the characters are despicable. Leaves a bad feeling after you are done watching it.
A una persona le pareció útil
5.0 de v estrellas
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some of the Coen Brothers earlier piece of work and i of the best this film I believe in a higher place many others really gives you everything yous demand to know about what it is that the Coen Brothers practise... from their ain Uniqueness in the visual form of movie making into some of the twist and turns their Signature style of script writing to some of the kind of quirky story plots that at outset leaves you flat wondering "what the heck was that?" just to later figure out that information technology all fits together rather well... fifty-fifty if yous take to scout it twice... or three times to have it all in... this is definitely a 'gotta see' for anyone in the procedure of becoming Coen Fans...
A vi personas les pareció útil
iii.0 de 5 estrellas
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Even brilliant writers/directors/producers, with a brilliant cast and coiffure, with a cool premise, sometimes just don't quite make information technology. So is the case here. Step is tiresome, but the payoff doesn't compensate. It is fun to sentinel some of the Coen regulars and some of the other wonderful performances. I came away thinking 'if only Ed Crane had talked more.' I don't think that was the point. Nice to see a barber be the primary character though.
5.0 de five estrellas
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Other people take already reviewed the moving-picture show and even lent synopsis of plot, and then I will not.
This moving picture is one of the most impressive black and white films I have eve seen. It stands amongst the mightiest and more legendary movie noir in my opinion. The pacing is mostly intense, and never ho-hum. The camera piece of work is tops. The interim is sublime at every turn. There may be some that will not be into this film as a affair of taste, but I do not remember it would exist due to whatsoever flaw of the film. Notice yourself surprised at the plow each role player takes with characters you are likely not familiar seeing said actors play.
It is a great mix of the Coen brothers 'odd' delivery with a much darker and sinister sets of circumstances. The movie seems quiet, but information technology like a river of great electric current that has a polish surface.
A 7 personas les pareció útil
4.0 de five estrellas
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The Coen brothers take the reputation of being excellent, if non a bit quirky, filmmakers. "The Man Who Wasn't At that place" continues with this reputation. This picture, at all once, parodies and worships the movie noir genre. The main character, Ed Crane, is a hairdresser in a pocket-sized Californian town where everyone lives under the guise of perfection: A sort of Western Levittown.
Crane (played by Baton Bob Thorton) speaks slowly, without varied emotion, while narrarating this film. The premise of the plot is Crane'southward attempt to "go in on" a dry cleaning business with a rather seedy passing-through man of affairs. When the business concern man is plant expressionless, Crane is the primary doubtable. Crane's wife is having an thing with her boss. When Crane eventually confronts him, he (Crane) also winds up killing him. In the typical noir style, in that location is a vague detachment of the protagonist from his surroundings: Regardless of what events may come up forth, Crane's voice and disposition practise not change the slightest.
Probably the biggest downfall of "The Human being Who Wasn't There" is the catastrophe. It most seems that the Coen brothers aren't satisfied with having created a strong movie, and therefore they felt obligated to tinker with the ending. Unfortunately, this does non work. The ending leaves something to be desired: It does a poor job of ending the film, and mismatches the previous parts of the film (ie, like pairing plaid shirts and striped pants). The ending itself wasn't bad, it was merely that it deviated and so much from the film's fashion that it essentially wrecked the catastrophe of the picture.
While I practise not believe this to be 1 of the Coen brother'south strongest films, it must withal be viewed. It is a relatively large deviation from many of their movies (that is, the typical night humor). There must be artistic kudos given to them, every bit they have again demonstrated that they may adroitly expand into other "genres" of film, without ever entirely abandoning their way.
A 2 personas les pareció útil
Source: https://www.amazon.com/Man-Who-Wasnt-There/dp/B000I9WW2W
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