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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Here is the complete list of winners:
Best Motion Picture - Drama
The Aviator WINNER!
Million Dollar Baby
Best Performance by an Actress in a Motion Picture - Drama
Scarlett Johansson, A Love Song For Bobby Long
Nicole Kidman, Birth
Imelda Staunton, Vera Drake
Hilary Swank, Million Dollar Baby WINNER!
Uma Thurman, Kill Bill Vol. 2
Best Performance by an Actor in a Motion Picture - Drama
Javier Bardem, The Sea Inside
Don Cheadle, Hotel Rwanda
Johnny Depp, Finding Neverland
Leonardo Dicaprio, The Aviator WINNER!
Liam Neeson, Kinsey
Best Motion Picture - Musical or Comedy
Eternal Sunshine of the Spotless Mind
The Phantom of the Opera
Best Performance by an Actress in a Motion Picture - Musical or Comedy
Annette Bening, Being Julia WINNER!
Ashley Judd, De-Lovely
Emmy Rossum, The Phantom of the Opera
Kate Winslet, Eternal Sunshine of the Spotless Mind
Renee Zellweger, Bridget Jones: the Edge of Reason
Best Performance by an Actor in a Motion Picture -Musical or Comedy
Jim Carrey, Eternal Sunshine of the Spotless Mind
Jamie Foxx, Ray WINNER!
Paul Giamatti, Sideways
Kevin Kline, De-Lovely
Kevin Spacey, Beyond the Sea
Best Director - Motion Picture
Clint Eastwood, Million Dollar Baby WINNER!
Marc Forster, Finding Neverland
Mike Nichols, Closer
Alexander Payne, Sideways
Martin Scorsese, The Aviator
Best Foreign Language Film
The Chorus (Les Choristes), (France)
House of Flying Daggers, (China)
The Motorcycle Diaries, (Brazil)
The Sea Inside, (Spain) WINNER!
A Very Long Engagement, (France)
Best Performance by an Actress in a Supporting Role in a Motion Picture
Cate Blanchet, The Aviator
Laura Linney, Kinsey
Virginia Madsen, Sideways
Natalie Portman, Closer WINNER!
Meryl Streep, The Manchurian Candidate
Best Performance by an Actor in a Supporting Role in a Motion Picture
David Carradine, Kill Bill Vol. 2
Thomas Haden Church, Sideways
Jamie Foxx, Collateral
Morgan Freeman, Million Dollar Baby
Clive Owen, Closer WINNER!
Best Screenplay - Motion Picture
Charlie Kaufman, Eternal Sunshine of the Spotless Mind
John Logan, The Aviator
David Magee, Finding Neverland
Patrick Marber, Closer
Alexander Payne & Jim Taylor, Sideways WINNER!
Best Original Score - Motion Picture
Clint Eastwood, Million Dollar Baby
Jan A.P. Kaczmarek, Finding Neverland
Rolfe Kent, Sideways
Howard Shore, The Aviator WINNER!
Hans Zimmer, Spanglish
Best Original Song - Motion Picture
"Accidentally In Love" -- Shrek 2
Music & Lyrics By: Adam Duritz, Dan Vickery, David Immergluck, Matthew Malley & David Bryson
"Believe" - The Polar Express
Music & Lyrics By: Glen Ballard & Alan Silvestri
"Learn To Be Lonely" - The Phantom of the Opera
Music By: Andrew Lloyd Webber
Lyrics By: Charles Hart
"Million Voices" - Hotel Rwanda
Music By: Wyclef Jean, Jerry "Wonder" Duplessis, Andrea Guerra
Lyrics By: Wyclef Jean
"Old Habits Die Hard" - Alfie
Music & Lyrics By: Mick Jagger & David A. Stewart WINNER!
Best Television Series - Drama
Nip/Tuck (FX) WINNER!
The Sopranos (HBO)
Best Performance by an Actress in a Television Series - Drama
Edie Falco, The Sopranos
Jennifer Garner, Alias
Mariska Hargitay, Law & Order: Special Victims Unit WINNER!
Christine Lahti, Jack & Bobby
Joely Richardson, Nip/Tuck
Best Performance by an Actor in a Television Series - Drama
Michael Chiklis, The Shield
Denis Leary, Rescue Me
Julian Mcmahon, Nip/Tuck
Ian McShane, Deadwood WINNER!
James Spader, Boston Legal
Best Television Series - Musical or Comedy
Arrested Development (Fox)
Desperate Housewives (ABC) WINNER!
Sex and the City (HBO)
Will & Grace (NBC)
Best Performance by an Actress in a Television Series - Musical or Comedy
Marcia Cross, Desperate Housewives
Teri Hatcher, Desperate Housewives WINNER!
Felicity Huffman, Desperate Housewives
Debra Messing, Will & Grace
Sarah Jessica Parker, Sex And The City
Best Performance by an Actor in a Television Series - Musical or Comedy
Jason Bateman, Arrested Development WINNER!
Zach Braff, Scrubs
Larry David, Curb Your Enthusiasm
Matt Leblanc, Joey
Tony Shalhoub, Monk
Charlie Sheen, Two And A Half Men
Best Mini-Series or Motion Picture Made For Television
American Family - Journey of Dreams (PBS)
Iron Jawed Angels (HBO)
The Life and Death of Peter Sellers (HBO) WINNER!
The Lion in Winter (Showtime)
Something the Lord Made (HBO)
Best Performance by an Actress in a Mini-Series or a Motion Picture Made for Television
Glenn Close, The Lion in Winter WINNER!
Blythe Danner, Back When We Were Grown Ups
Julianna Margulies, The Grid
Miranda Richardson, The Lost Prince
Hilary Swank, Iron Jawed Angels
Best Performance by an Actor in a Mini-Series or A Motion Picture Made for Television
Mos Def, Something the Lord Made
Jamie Foxx, Redemption
William H. Macy, The Wool Cap
Geoffrey Rush, The Life and Death of Peter Sellers WINNER!
Patrick Stewart, The Lion in Winter
Best Performance by an Actress in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Drea De Matteo, The Sopranos
Anjelica Huston, Iron Jawed Angels WINNER!
Nicolette Sheridan, Desperate Housewives
Charlize Theron, The Life and Death of Peter Sellers
Emily Watson, The Life and Death of Peter Sellers
Best Performance by an Actor in a Supporting Role in a Series, Mini-Series or Motion Picture Made for Television
Sean Hayes, Will & Grace
Michael Imperioli, The Sopranos
Jeremy Piven, Entourage
Oliver Platt, Huff
William Shatner, Boston Legal WINNER!
The Recruit wants us to believe the film's main thrust revolves around the Central Intelligence Agency's old maxim "nothing is what it seems." Had they stuck with this framework perhaps the film would have been more compelling. Instead it lapses into the expected and the implausible where you can pretty much guess exactly what's going to happen even if it really makes no sense. Our hapless protagonist James Clayton (Colin Farrell) is hustled by CIA recruiter Walter Burke (Al Pacino) who believes himself to be a "scary judge of talent" and sees James as prime CIA meat. When James hesitantly accepts the offer to come to The Farm he does so motivated less by helping his country and more by trying to find out what happened to his father who died mysteriously several years before and whom Burke alleges he knew. Once at The Farm James proves his mettle and is told again and again "it's in his blood." Ah then should we believe James' father who supposedly worked for Shell Oil really worked for the CIA as an NOC or Non-Official Cover agent one of the Agency's more prestigious--and dangerous--positions? The plot thickens. James also falls for fellow recruit Layla (Bridget Moynahan) but during an intense interrogation set-up he makes a serious error trying to save her and "washes out" of the program. Just when he thinks he's out forever James gets pulled back in by Burke who tells him all his trials and tribulations were just a test and that he is really NOC material and needed to root out a mole. Is it what it seems? Heavens no.
You'll be seeing a lot of Farrell in the coming months. Along with The Recruit this year alone he'll be in three major feature films including the upcoming comic-book actioner Daredevil; S.W.A.T. yet another feature based on a TV series; and the sniper movie Phone Booth. How has this 26-year-old Irish hunk risen so quickly in the ranks you might ask? Maybe it's because he has an uncanny ability to make the parts he plays completely believable. He slips easily into the Clayton character the quintessential CIA recruit with a daddy complex and fuels the film with the right amount of acting skills and smoldering good looks. Unfortunately his co-star the high and mighty Mr. Pacino is becoming a caricature of himself. Playing Burke is certainly no stretch for the actor and the film would not be complete without the requisite ranting scene where CIA veteran Burke tells the world all about it--voice booming words punctuated. It seems this has become the standard in any Pacino performance and frankly it's getting tiresome. Where's the quiet but powerful Michael Corleone when you need him? Moynahan (The Sum of All Fears) is somewhat bland as Clayton's love interest Layla. Word of advice: if Colin Farrell is making eyes at you go for it immediately. Don't waste any time.
For all its obviousness The Recruit does some things right. No stranger to the inner workings of our government agencies director Roger Donaldson who directed the Cuban Missile Crisis drama Thirteen Days and the Pentagon thriller No Way Out gives us access to the CIA training program or The Farm as its lovingly referred to--and it's one scary place. Obviously when making the film things had to be handled delicately as not to divulge too much so the film does take some creative liberties in showing the intense training the eager recruits have to face. That's fine with us--if we can't rely on death-defying stunts and car chases then outrageous mind games are generally good enough. But once The Recruit takes leave of The Farm the movie begins to fall apart. The inherent action set up for us in the first part--James finding out about his father the blossoming relationship between Layla and James who will be the NOC and the whole mole plot--just isn't as convincing to carry the film through its fruition. And being able to guess the next move isn't much fun either.
The British Broadcasting Company's charity Comic Relief, which is similar to the one in the U.S., has received a magical infusion.
JK Rowling, Britain's most famous children's author, has written two special Harry Potter books - "Quidditch through the Ages" and "Fantastic Beasts and Where To Find Them" -- for the charity. The books' proceeds will help to put an end to poverty and social injustice.
Rowling told Reuters, "There is something wonderful about the idea that laughter should be used to combat real tragedy and poverty and suffering and it just is the most wonderful thing." She added, "So when Comic Relief asked me to write something I thought I would just love to write them, I just thought it would be so much fun and I was completely correct. It was more fun than I've had writing the others."
"Beasts" is a book for wizard-in-training Harry to read to prepare himself at the Hogwarts School of Witchcraft and Wizardry. "Quidditch" is a guide to the most popular Hogwarts' sport, a game with flying balls and broomsticks.
Kevin Cahill, chief executive of Comic Relief, told Reuters, "JK Rowlings's gift of these two short stories to Comic Relief is beyond extraordinary."
Helen Fielding, the popular British novelist whose books "Bridget Jones's Diaries" are top-sellers, also contributed a short story to the cause. Called "Bridget Jones's Guide to Life," the story features the dieting, smoking, man-hunting single woman offering tips on happy homemaking such as how to throw the perfect dinner party.