Tag Archives: Coen Brothers

Can’t Wait: Andrew Dominik’s ‘Killing Them Softly’


While my other movie series, I Don’t Need No Stinkin’ Film School, looks back, I figured I should place at least one foot in the here and now of giddy anticipation.  Therefore, Can’t Wait focuses on upcoming movies I, well, can’t wait to see, along with a few reasons why.

After watching The Godfather for the first time as an adult — I had only seen it at the age of 12 — and The Godfather Part II for the first time, period, in the past week, you could say I’m on a mafia movie kick.  While Coppola’s films rank among the greats, their high-minded take on the upper echelons of mob life is not my favorite of the genre.  As I wrote last week, Martin Scorsese’s Goodfellas ranks in my 10 favorite films, and I think that’s because of its focus on the smaller aspects of the life; the two-bits, the less successful ones.

Writer-director Andrew Dominik (Chopper, The Assassination of Jesse James by the Coward Robert Ford) appears to share Scorsese’s mindset in that regard, as evidenced by the new trailer for his upcoming Killing Them Softly.

Now, doesn’t that feel like one of Elmore Leonard’s lost gems?  Brad Pitt’s scuzzy-goateed, aviator-clad heavy looks to continue his winning streak of distinct, interesting characters (after Inglourious Basterds, The Tree of Life, and his Oscar-nominated turn as Oakland A’s general manager Billy Beane in Moneyball), and he deservedly earns top billing.  Pitt’s not the main reason I’m eager to see this, though.  Richard Jenkins is.

Jenkins is a wonderful character actor whose profile has risen the last few years, to the point where he’s nearly reached the Gene Hackman/Robert Duvall level.  The first time I noticed him was as the lovesick buffoon in the Coen brothers’ Burn After Reading, and I haven’t stopped paying attention to him since.  From his tragically doomed Father in Let Me In (a movie that probably had no right to be good, yet still pulled it off), to being the best part of The Rum Diary as Johnny Depp’s cranky newspaperman boss, to his place as the secret weapon (with Bradley Whitford) of 2012’s best film to date, The Cabin in the Woods, Jenkins has earned every ounce of respect heaped on him.  I’m excited to see what he can do in the criminals-bullshitting-each-other milieu.

Oh, and how can you not be excited for that single-take working over of Ray Liotta?  It’s the best form of low-budget filmmaking.

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BFI’s Greatest Films of All Time 2012 List Revealed; I Feel Like a Know-Nothing


If you consider yourself a movie buff like I do, you probably make an effort to see the films noted by critics and filmmakers as the best.  In the last few years, I’ve made great strides in expanding my horizons in that regard.  As of my most recent count, I’ve seen 248 of the 1,001 Movies You Must See Before You Die (albeit the now slightly outdated 2005 edition), and I feel like I’m relatively educated on the subject of cinema.

That is, of course, until I saw the British Film Institute released their once-a-decade Top 50 Greatest Films of All Time list yesterday.  Looking at the top 10, I felt I’d done pretty well.  I’ve seen Vertigo, Citizen Kane, La Regle du jeu (The Rules of the Game), 2001: A Space Odyssey, and 8 1/2.  Quibbles about the worth of La Regle aside (Maybe I’m a dumb American for not appreciating it, but I think Robert Altman did a far more interesting version of the rich-people-and-their-servants-stuck-together-in-a-big-house story with Gosford Park — “BLASPHEMY!” I can hear you all yelling at me), I felt pretty good about myself.  Then I read choices 11 through 50.  In total, I’ve seen a meager 16 films on the list, and haven’t even heard of a large portion of the entries.  Once again, I’m humbled, and for the umpteenth time in my life, I feel this is appropriate.

What should you take away from this?  I guess it would be the un-profound, “Don’t be a know-it-all, because you don’t.”

And now, I’m left wondering what my own top 10 would be.  I’m too indecisive to rank them by worth, so it will have to be of the “in no particular order” variety.  This is something that could change by the hour, and some of these don’t necessarily reflect my feelings on the “best” cinema has to offer; rather, they are the ones I most enjoy and can watch multiple times.  Entertainment value plays a huge role.  So, here is my list of favorite movies (Thank you, Josh, for the formatting idea).

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb – dir. Stanley Kubrick.  I could really go with 2001, The Killing, Paths of Glory, or The Shining here, but this one is the funniest, so it makes the cut today.

Boogie Nights – dir. Paul Thomas Anderson.  This is the movie that made me say, “I want to make those.”

Ghostbusters – dir. Ivan Reitman.  It’s both sentimental — when I was a toddler, it served as my babysitter while my mom took care of my little sister — and still really funny.

Raiders of the Lost Ark – dir. Steven Spielberg.  This week, it edges Close Encounters of the Third Kind.  Ask me again next week and it’ll probably be the opposite.

Ran – dir. Akira Kurosawa.  This is the newest addition, as I only saw it a week and a half ago; see what I mean by the evolving nature of this list?

Goodfellas – dir. Martin Scorsese.  Like Kubrick and Spielberg, this could be any number of Scorsese’s films, particularly Taxi Driver and Raging Bull.

The Treasure of the Sierra Madre – dir. John Huston.  Bogart goes unhinged and gets desperate while Huston explores the depths of human greed without neglecting entertainment.

Bronson – dir. Nicolas Winding Refn.  This is my generation’s (improvement on (here come the “BLASPHEMY!” charges again)) A Clockwork Orange and features Tom Hardy’s portrayal of an earthquake of a character.  Perhaps the finest film of the last five years.

Chinatown – dir. Roman Polanski.  A movie without fault.  Its story, characters, and themes create one of the greatest stories ever put to celluloid.

Fargo – dir. Joel and Ethan Coen.  In this, the Coens show a rare affinity for a character — Marge — and play with noir conventions in an Elmore Leonard way.  I watch it every six months or so, which is what helps place it above Miller’s Crossing and Barton Fink on my list.

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