Miller's Crossing / Barton Fink
The same approach is taken with Barton Fink — where John Turturro (as the titular Fink) takes his lefty Jewish New York intellectual high-mindedness to Hollywood. He'll take this crass medium of film and use it to elevate the common man to the status his intellectual prognostications have told him they deserve. Problem is, he has no contact with so-called common people, save a behemoth next door in the form of insurance salesman Charlie Meadows (John Goodman). Barton Fink may be parody, but of what, you'll have to figure out on your own through the course of the film. It's also quite hilarious — with beautifully droll turns by Judy Davis, Frasier's John Mahoney, Steve Buscemi and wonderful performances by Turturro and Goodman. But again, it's not a comedy — at least not one that lives in the same universe as the speedy farce of Raising Arizona. This balance has, in fact, become the defining aspect of the Coens' filmmaking — nearly all their efforts since are either seriously character-driven farce (Hudsucker Proxy, Big Lebowski), or subtle, humorous explorations of drama (Man Who Wasn't There, Fargo). They manage this because Joel and Ethan Coen never, ever write in broad strokes. Through Miller's Crossing and Barton Fink specifically, their attention to detail grows immensely. They are not writing "a" character, they are writing this character, who is living this life at this time and whose motivations are thus. Barton Fink in particular, on DVD, is an excellent opportunity to highlight this — the ring of the desk clerk's bell, the whoosh of opening hotel doors and the squelch of peeling wallpaper all add up to a visceral, specific filmic experience, one that they've proven time and again they can deliver. What they have been failing to deliver, however, is good DVD issues of their catalogue, and while these two are better than some (Lebowski, Hudsucker and Fargo are all disappointments), they are still lacking. The best offering of the two comes with Miller's Crossing, in the form of a profile on then-cinematographer Barry Sonnenfeld (Men In Black), who shot their first three films. His interview on their early filmmaking efforts just scratches the surface of what could be explored here. Brief cast interviews with Byrne, Turturro and Marcia Gay Harden whet the appetite but don't satisfy. And a selection of deleted scenes from Barton Fink adds mere seconds to scenes already familiar from the film. That said, for the work themselves these two films are well worth repeat viewings — you'll have to provide your own full-length commentary at home. Extras: Miller's Crossing: A conversation with Barry Sonnenfeld, cast interviews; Barton Fink: deleted scenes. (Fox)
ReviewsAug 11, 2015
Thematically speaking, the high concept social media horror Unfriended is like a somewhat more composed and concise version of MTV's revampe...
ReviewsAug 10, 2015
The French Lieutenant's WomanKarel Reisz
John Fowles' 1969 novel, The French Lieutenant's Woman, was a landmark achievement in postmodern literary theory. Though set in the Victoria...
ReviewsJul 28, 2015
5 to 7Victor Levin
Initially, Victor Levin's NYC-based romantic-drama, 5 to 7, fancies itself a sort of grounded, observational conversation drama. It's like a...
ReviewsJul 21, 2015
My Beautiful LaundretteStephen Frears
Stephen Frears wasn't particularly well known prior to My Beautiful Laundrette. Those within the industry knew him from his work with the BB...
ReviewsJul 14, 2015
Howling IIPhilippe Mora
During the final credits of Howling II, Philippe Mora's perplexingly bad sequel to the above-average 1981 horror classic, The Howling, Sybil...
ReviewsJul 07, 2015
Danny CollinsDan Fogelman
Writer/director Dan Fogelman has never written anything particularly good. Cars and Tangled were serviceable in a conservative, formulaic se...
ReviewsJul 07, 2015
The consensus about Yann Demange's feature directorial debut, '71, is that it's a wildly kinetic and highly propulsive thriller. It's engagi...
ReviewsJun 30, 2015
The GunmanPierre Morel
Though the Blu-ray casing for the latest exercise in exploitative renegade enforcement, The Gunman, suggests that the film is "spectacular,"...