Much like the somber melodies that float throughout its 105-minute runtime, Inside Llewyn Davis will remain lodged in your head weeks after you and the film first meet. With Oscar Isaac's "Fare thee we-e-ell..." ringing daintily in your ears, you'll shuffle out from the grasp of the Coen Brothers' wonderland of gray, but you won't soon be able to relieve yourself of what is arguable the pair's best film yet. Llewyn's is a story so outstandingly simple — he's a man who's s**t out of luck, and not especially deserving of any. He wakes up, loses his friend's cat, plays some music, and wishes things were better. And yet his is the Coens' most invigorating and deftly human tale yet.
Llewyn Davis makes the bold, but practical, choice of never insisting that we love its hero. He's effectively a jackass, justifying all the waste he has incurred with the rudeness he showers on the majority of those in his acquaintance. But Llewyn Davis isn't the villain here, either. The villain is the industry, and all the uphill battles inherent to its machinations. The villain isn't Llewyn's substantially more successful contacts — an old pal Jim (Justin Timberlake) and new fellow couch-surfer Troy (Stark Sands), but the listening public that prefers their saccharine pop to his dreary drips of misery. The villain isn't Llewyn's resentful old flame Jean (Carey Mulligan), no matter how many volatile admonitions she might shoot his way, but the act of God surrounding their unwitting adherence to one another. And it's not even the cantankerous and foul Roland Turner (a delightfully hammy John Goodman), but the endless, frigid open road of which each man is a prisoner (if the film has one flaw, it's that this segment carries on just a bit too long, but that might very well be the point). The villain is the cold.
Call it all a raw deal. But the real dynamism isn't in the challenges that happen outside Llewyn Davis, but in the determined toxicity brewing inside as he meets each and every one.
But this isn't the Coen Brothers' Murphy's Law comedy A Serious Man — we don't watch a chaotic pileup of every imaginable trick that the devil can manage to pull. Llewyn is steady throughout, not burying Llewyn deeper but keeping him on the ground, with the fruit-bearing branches forever out of his reach. In its narrative, Llewyn Davis is as close to natural life as any of the filmmakers' works to date. Perfectly exhibited in a late scene involving a trip to Akron, Llewyn isn't a cinematic construct, but the sort of person we know, so painfully, that we are very likely to be... on our bad days.
Still, working in such a terrific harmony with the grounded feel of Llewyn himself, we have that Coen whimsy in their delivery of 1960s New York City — rather, a magic kingdom painted in the stellar form of a 1960s New York City. And not the New York City we're given by the likes of Martin Scorsese or Woody Allen. Closer, maybe, to Spike Lee or Sydney Lumet, but still a terrain unique to moviegoers. A New York that's always recovering from a hostile rain, and always promising another 'round the bend. One that flickers like a dying bulb, with its million odd beleaguered moths buzzing around it against the pull of logic. There is something so incredibly alive about the Coens' crying city; this hazy dream world's partnership with half-dead, anchored-to-earth portrait like Llewyn is the product of such sophisticated imagination at play.
And to cap this review of one of the best features 2013 has given us, it's only appropriate to return to the element in which its identity is really cemented: the music. Without the tunes bobbing through the story, we'd still likely find something terrific in Llewyn Davis. But the music, as beautiful as it is, is the reason for the story. As we watch Isaac's hopeless sad sack drag himself through Manhattan's winter, past the helping hands of friends and into the grimaces of strangers, as we struggle with our own handfuls of nihilistic skepticism that any of this yarn is worth the agony (or that our attention to its meandering nature is worth the price of a ticket), we are given the rare treat of an answer. Of course it's all for something. Of course it's all about something. It's about that beautiful, beautiful music.
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Set in a world inhabited only by motor vehicles Cars is sort of a cross between Michael J. Fox's Doc Hollywood and NASCAR. The main hero is a hotshot rookie race car named Lightning McQueen (Owen Wilson)--an obvious homage to the late fast-driving Steve McQueen--whose one goal in life is to win the Piston Cup and bask in fame and glory. Yet on his cross-country trip to the Piston Cup Championship in California to compete against two seasoned pros (real-life legendary racer Richard Petty voices the reigning champion The King) Lightning finds himself unexpectedly detoured in the sleepy--and forgotten--Route 66 town of Radiator Springs. There he meets its colorful denizens--including Sally (Bonnie Hunt) a snazzy 2002 Porsche who owns the local “rest” stop; Mater (Larry the Cable Guy) the town’s rusty but trusty tow truck; and Doc Hudson (Paul Newman) a 1951 Hudson Hornet who rules the town with a steady hand er wheel. Together they all help the cocksure Lightning realize that there are more important things than trophies fame and sponsorship. If Pixar calls you come running so it isn’t at all surprising how impressive the Cars vocal line-up is starting with legendary screen icon Newman as the Doc. Come on being the race car driving nut that he is you think the 81-year-old actor would say no to voicing a 1951 Hudson Hornet who has his own mysterious past in the racing world? Hell no. The rest of the cast also seem to have a good time channeling their inner car from Wilson’s snarky speedster to Hunt’s cute and sexy Porsche a big-city lawyer who decides to get out of the fast lane. Supporting voices include Cheech Marin and Tony Shalhoub as Radiator Springs’ low-riding body shop and Italian Fiat tire shop owners respectively. Even George Carlin gets into the act as a groovy ‘60s VW wagon who sells “organic” fuel. Good stuff. Of course what Pixar flick would be complete without its comic relief? Although he’s no Ellen DeGeneres as a short-term memory impaired fish Larry the Cable Guy fills in nicely as the dim but sweet Mater the ultimate hick tow truck. Having been out of the directing loop since his 1999 sequel Toy Story 2 Cars marks Pixar’s golden boy John Lasseter return--and this is his big love letter to the splendor that is the automobile. Of course his demand for perfection took its toll. The animators had to come up with a new technique called “ray tracing ” which allows the car stars--that are metallic and heavily contoured--to credibly reflect their environments. Even with a sophisticated network of 3 000 computers and state-of-the-art lightning-fast processors that operate up to four times faster than they did on The Incredibles the average time to render a single frame of film was 17 hours. Still all that time spent pays off. Cars is a real visual treat with another firm grasp in storytelling. Sure it’s a bit of a vanity project and may shoot way over the kiddies’ heads making them squirm a little during the “slow” parts. But as one of the recently appointed top guns at Disney Lasseter can do just about anything he wants these days--and we are going to love it dammit.