Showing posts with label Black Comedy. Show all posts
Showing posts with label Black Comedy. Show all posts

Wednesday, October 9, 2013

Coen Brothers: Fifteen Films Streaming on Roku





The buzz for the new film from Joel and Ethan Coen, Inside Llewyn Davis, continues to grow after its New York Film Festival screening.  Besides Rotten Tomatoes, where the Tomatometer rating stands at 89%, a good survey of the current reviews for the film can be found at IndieWire.  As further proof of the Coens' ongoing popularity, InstantWatcher has rated the newly available Fargo as one of the most streamed titles in the last 24 hours.

As it turns out, all of the 15 films written and directed by Joel and Ethan Coen are available through various services on the Roku Streaming Device.  Five of them are available for free with a subscription (which as we know, ain't free): Miller's Crossing (Netflix, Amazon Prime), Barton Fink (Netflix, Amazon Prime), The Hudsucker Proxy (Amazon Prime), Fargo (Netflix, Amazon Prime), and Intolerable Cruelty (Netflix). Most other titles are available through Amazon and Vudu, as well as some other services (simply use the search function on the Roku).  I've listed the titles below in chronological order, using Netflix as the default subscription link and Vudu as the rental link (unless, as in the case of No Country for Old Men, Amazon is cheaper).


Posters and Synopses from The Movie Database



Blood Simple (Joel Coen, USA, 1984, 97 minutes)
A rich but jealous man hires a private investigator to kill his cheating wife and her new man. But, when blood is involved, nothing is simple.












Raising Arizona (Joel Coen, USA, 1987, 93 minutes)
The Coen Brothers tell the story of a absurd yet likable family with an unproductive couple as the focal point. The couple has gotten themselves into some trouble while kidnapping a baby and give Hollywood one of the most memorable chase scenes to date.






Miller's Crossing (Joel Coen, USA, 1990, 114 minutes)
Miller’s Crossing is the Coen brothers' first successful attempt at reaching a wider audience. They illustrate an atypical Mafia story that sways away from the typical films from the genre like The Godfather or Goodfellas. Taking place during Prohibition, this film is an incredible piece of work accompanied by superb acting performances.






Barton Fink (Joel Coen, USA, 1991, 116 minutes)
New York intellectual playwright Barton Fink comes to Hollywood to work as a screenwriter. Staying in the eerie Hotel Earle, Barton develops severe writer's block when his studio boss orders the serious-minded Barton to write a low budget wrestling movie. His neighbor, jovial insurance salesman Charlie Meadows, tries to help, but Barton continues to struggle as a bizarre sequence of events distracts him even further from his task.





The Hudsucker Proxy (Joel Coen, USA, 1994, 111 minutes)
When Waring Hudsucker, head of hugely successful Hudsucker Industries, commits suicide, his board of directors, led by Sidney Mussberger, comes up with a brilliant plan to make a lot of money: appoint a moron to run the company. When the stock falls low enough, Sidney and friends can buy it up for pennies on the dollar, take over the company, and restore its fortunes. They choose idealistic Norville Barnes, who just started in the mail room. Norville is whacky enough to drive any company to ruin, but soon, tough reporter Amy Archer smells a rat and begins an undercover investigation of Hudsucker Industries.





Fargo (Joel Coen, USA, 1996, 97 minutes)
Jerry, a small-town Minnesota car salesman is bursting at the seams with debt... but he's got a plan. He's going to hire two thugs to kidnap his wife in a scheme to collect a hefty ransom from his wealthy father-in-law. It's going to be a snap and nobody's going to get hurt... until people start dying. Enter Police Chief Marge, a coffee-drinking, parka-wearing - and extremely pregnant - investigator who'll stop at nothing to get her man. And if you think her small-time investigative skills will give the crooks a run for their ransom... you betcha!





The Big Lebowski (Joel Coen, USA, 1998, 117 minutes)
Jeffrey "The Dude" Lebowski is the ultimate LA slacker, until one day his house is broken into and his rug is peed on by two angry gangsters who have mistaken him for Jeffrey Lebowski, the LA millionaire, whose wife owes some bad people some big money. The Dude becomes entangled in the plot when he goes to visit the real Lebowski in order to get some retribution for his soiled rug, and is recruited to be the liason between Lebowski and the captors of his now "kidnapped" wife.





O Brother, Where Art Thou? (Joel Coen, USA, 2000, 106 minutes)
O’Brother, Where Art Thou? is a Coen Brother's film roughly based on Homer’s “Odyssey.” Taking place in the deep south in the 1930’s the film tells the story of three escaped prison workers and their journey for a buried treasure. On their journey they come across many comical characters and incredible situations.





The Man Who Wasn't There (Joel Coen, USA, 2001, 116 minutes)
A tale of passion, crime and punishment set in the summer of 1949. Ed Crane, a barber in a small California town, is dissatisfied with his life, but his wife Doris' infidelity presents him with a chance to change it.






Intolerable Cruelty (Joel Coen, USA, 2003, 100 minutes)
A revenge-seeking gold digger marries a womanizing Beverly Hills lawyer with the intention of making a killing in the divorce.





The Ladykillers (Joel & Ethan Coen, USA, 2004, 104 minutes)
An eccentric, if not charming Southern professor and his crew pose as a band in order to rob a casino, all under the nose of his unsuspecting landlord: a sharp old woman.






No Country for Old Men (Joel & Ethan Coen, USA, 2007, 122 minutes)
Llewelyn Moss stumbles upon dead bodies, $2 million and a hoard of heroin in a Texas desert, but methodical killer Anton Chigurh comes looking for it, with local sheriff Ed Tom Bell hot on his trail. The roles of prey and predator blur as the violent pursuit of money and justice collide.






Burn After Reading (Joel & Ethan Coen, USA, 2008, 95 minutes)
This is comedic tale of espionage. An ousted CIA official's memoir accidentally falls into the hands of two unwise gym employees intent on exploiting their find.






A Serious Man (Joel & Ethan Coen, USA, 2009, 105 minutes)
A Serious Man is the story of an ordinary man's search for clarity in a universe where Jefferson Airplane is on the radio and F-Troop is on TV. It is 1967, and Larry Gopnik, a physics professor at a quiet Midwestern university, has just been informed by his wife Judith that she is leaving him. She has fallen in love with one of his more pompous acquaintances, Sy Ableman.






True Grit (Joel & Ethan Coen, USA, 2010, 110 minutes)
Following the murder of her father by hired hand Tom Chaney, 14-year-old farm girl Mattie Ross sets out to capture the killer. To aid her, she hires the toughest U.S. Marshal she can find, a man with "true grit," Reuben J. "Rooster" Cogburn. Mattie insists on accompanying Cogburn, whose drinking, sloth, and generally reprobate character do not augment her faith in him. Against his wishes, she joins him in his trek into the Indian Nations in search of Chaney. They are joined by Texas Ranger LaBoeuf, who wants Chaney for his own purposes. The unlikely trio find danger and adventure on the journey, and each has his or her "grit" tested.






Wednesday, September 28, 2011

Peter Medak: The Krays, Let Him Have It, The Ruling Class

Today's release of The Krays on Netflix Watch Instantly inspired this short list of films by the British director, Peter Medak.  A few other films by Medak are also streaming, including his episode for the Masters of Horror series, The Washingonians.

The Krays (Peter Medak, UK, 1990, 120 minutes)
Netflix: Director Peter Medak's BAFTA-nominated drama depicts the real-life story of twins Reggie (Martin Kemp) and Ronald Kray (Gary Kemp), two notoriously vicious gangsters who would ultimately lead the criminal underworld of 1960s London. Raised in the city's working-class East End, the twins -- feared by everyone around them -- gained both power and respect, though eventually the brothers' horrific brutality turned even their own against them. Netflix link.




Let Him Have It (Peter Medak, 1991, UK, 115 minutes)
Netflix: When the mentally challenged Derek Bentley (Christopher Eccleston) befriends thug Chris Craig (Paul Reynolds) -- who lives his life as if it were a gangster film -- both their destinies are forever changed. Acclaimed director Peter Medak (Romeo Is Bleeding) helms this emotionally charged social commentary based on actual events, set in 1950s England. Eileen Atkins and Tom Courtenay co-star.  Netflix link.





Actually, I included The Ruling Class in an entry back in February about films from the 1970s that I should have seen by now.  Well, I still haven't seen it, and it is still streaming.

The Ruling Class (Peter Medak, UK, 1972, 154 minutes)
Netflix: After a House of Lords member dies during a bizarre cross-dressing ritual, his nutty son, Jack (Peter O'Toole) -- who thinks he's Jesus Christ -- is bequeathed the family estate. As a result, his family members must scheme to steal back Jack's inheritance. This 1972 cult comedy, in all its murder and mayhem glory, takes a swipe at every swath of class-obsessed British society. Arthur Lowe shines as Jack's lucky servant, Tucker.  Netflix link.



 

Sunday, May 1, 2011

Quick Picks: Harold and Maude (1971); The Spook Who Sat at the Door (1973)

According to InstantWatcher, a large list of Miramax films will be coming to Netflix Watch Instantly this week (in fact, it is supposed to be today, so stay tuned) and I plan to cover many of the highlights to the list over the course of this week.  There are so many to look at, in fact, that I decided to add a Quick Picks entry today to look briefly at some films from the 1970s that otherwise might be overlooked.

Not that Harold and Maude is an overlooked film, but it might not be noticed in the onslaught of films that are coming this week.  Simply put, everyone needs to see Harold and Maude at some point in their time on this Earth.  I associate the film with the film society scene at the University of Wisconsin--Madison, where it would be certain to play at least once every year until the societies died out.  It benefits from multiple viewings not only because of the quality of the film, but also because ones perspective it changes as one gets older.  It's perfect for the college crowd because it touches on youth angst and resistance to authority.  But it is also a rare Hollywood film that is also about getting old.  I hate to sound like a broken record when discussing films from the 1970s, but the experimentation in Hollywood as it tried to capture the emerging youth market of the counter culture led to some films that would have a hard time being made today.  It was possible to make a studio film that wasn't really for everybody, and Harold and Maude is not for all tastes in terms of content and tone. 

A thought occurred to me as I was preparing this entry: Is Michael Cera the Bud Cort of the 2000s?  Both of them are unlikely leading men, yet they both found their respective niche playing awkward young men in quirky narratives.  The difference, I think, is that even Michael Cera probably couldn't pull of the delicate mix of tones required for Harold and Maude.  Perhaps more importantly, I don't know of any recent American film (indie or studio) that has a character like Maude, or a performance comparable to Ruth Gordon's performance here.  Any attempt to do similar material now would probably come off as cold and ironic, but what is special about Harold and Maude is that by the end it is genuinely moving despite the broad, dark humor.


Harold and Maude (Hal Ashby, USA, 1971, 91 minutes)
Netflix: Death-obsessed teen Harold Chasen (Bud Cort) is being hassled by his domineering mother (Vivian Pickles) to play the dating game, but he'd much rather attend funerals, which is where he meets the feisty Maude (Ruth Gordon), a geriatric widow who's high on life. The seemingly mismatched pair forms a bond that turns into a highly unconventional -- but ultimately satisfying – romance in this comical cult favorite from director Hal Ashby.  Netflix link.





I still have not seen The Spook Who Sat by the Door, but I first heard about it from Christopher Sieving when discussing his research on African-American cinema and blaxploitation.  So its addition to Netflix Watch Instantly gives me an opportunity to add it to my queue as well as congratulate Chris on the recent publication of his book, Soul Searching: Black Themed Cinema from the March on Washington to the Rise of Blaxploitation from Wesleyan Press.


The Spook Who Sat by the Door (Ivan Dixon, USA, 1973, 102 minutes)
Netflix: After spending several years in Washington as the CIA's token black agent, Dan Freeman (Lawrence Cook) quietly returns to Chicago to launch a potent political revolution made up of leftist radicals and black nationalists. The goal of his well-trained guerilla army? To launch an all-out offensive against the nation's white-dominated power structure. Ivan Dixon, best known for his role as Sgt. "Kinch" Kinchloe on "Hogan's Heroes," directs. Netflix link.