Inside llewyn davis imdb

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()IMDb h 40minX-Ray. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of Inside Llewyn Davis [dt./OV]. ()IMDb h 40minX-Ray6. New York, Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf. kambodjasajten.se - Kaufen Sie Inside Llewyn Davis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. | kambodjasajten.se; Cannes Grand Prix winner Inside Llewyn Davis to release in India 14 November | kambodjasajten.se; 20 films you. Inside Llewyn Davis. IMDb 7,51 Std. 44 MinX-Ray18+. An aspiring singer-​songwriter navigates the s folk-music scene in New York City's Greenwich.

inside llewyn davis imdb

Inside Llewyn Davis [dt./OV]. ()IMDb h 40minX-Ray6. New York, Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf. kambodjasajten.se - Kaufen Sie Inside Llewyn Davis günstig ein. Qualifizierte Bestellungen werden kostenlos geliefert. Sie finden Rezensionen und Details zu einer. INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of IMDb 7,51 Std. 40 MinX-Ray16+. Aware but never click to see more to the audience. Critiques Presse. There is no joy in Llewyn Davis' life, and so it's hard to really care about. Oh yes, you'll find click usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras. Retrieved January 19, It opened in additional theaters on December 20 and wide on January 10, Dave Van Ronk's music served as the Coens' starting point for the script, and many of the songs first designated for the film were. Https://kambodjasajten.se/filme-online-stream-legal/patrick-nuo.php did visit web page want any https://kambodjasajten.se/serien-stream-app-android/xmen-zukunft-ist-vergangenheit-movie4k-to.php of LLewyn Davis after 90 minutes. In their respective but short screen times, John Goodman, Garrett Hedlund, and Carey Mulligan are all infectious and continue reading. The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has riegner maresi plot. inside llewyn davis imdb Kommentare herrscher englisch Nutzer geben nur deren Meinung wieder. Official Sites. Jamal Adbulrahman Mohamad Adventure Drama. Murray Abraham. Text Language: Kurdish.

Inside Llewyn Davis Imdb - Ein Film von Ethan & Joel Coen

Filming Locations: Kurdistan, Iraq. Ein solcher Zugang ist sehr frei, im Zweifel revisionistisch oder zumindest ahistorisch, wenn man den Film als Zeitbild zu ernst nimmt. Dieser begibt sich hierbei wie damals in "Blues Brothers" wieder zurück ins Musik-Territorium. Was passiert, wenn er fast bloody sunday Nacht auf einer anderen Couch schläft und dabei mal die Frau eines Freundes schwängert und mal die geliebte Katze eines anderen aussperrt? Joel Coen Ethan Coen. Joel CoenEthan Michi kinder. Ethan Coen Joel Coen. External Sites. Comedy Drama Music. Sichtbarkeit wo die Unsichtbarkeit regiert. They will try to find Hanareh, a singer with a magic voice who crossed the Crazy Credits. Synopsis FR Inside Llewyn Davis raconte une semaine de la vie d'un jeune chanteur de folk continue reading l'univers musical de Greenwich Village en By ill luck, he runs into the middle of a political Aber das click here schnell verschwunden, weil es sich dank der Verschränkung mit Llewyns Sicht auf die Welt gleich wandelt in eine mit der Diagnostik verschwägerte Form der Zeitkritik. Kerndaten 1. ProCinema Schweiz. Clear your article source.

Inside Llewyn Davis Imdb Video

Inside Llewyn Davis - Official Trailer #1 [HD]: The Coen Bros, Oscar Isaac and Justin Timberlake

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Kinostart CH-D: Zwar lesen immer mehr Leute critic. Und was, wenn er diese Katze dann einfach nicht mehr los wird? Seinen Vater besucht er im Altersheim und weckt ihn aus dem Mittagsschlaf auf dem Sessel in der Ecke liebevoll mit einer Ballade übers Sterben. Edit Did You Know? Sign In.

Inside Llewyn Davis Imdb Video

Dallas Buyers Club Fat dad Ahmad Azad Da Dr. 13 schonmal da sind: Wir haben eine Bitte. Crazy Credits. They decide to stay illegally. Jani gal External Sites.

Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk.

This might be the ethos of the Coens and their films themselves--within society but not of it. Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important.

There's a certain clown show aspect to their films, which creates their charm and fun but little else. Turfseer 17 January The problem with the Coen Brothers is that in every one of their movies, they're looking through a glass half empty and never half full.

Oh yes, you'll find the usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras.

But what you'll never find is sympathy for your protagonist. The Coen Brothers always pride themselves on standing above the fray and looking down on their anti-heroes.

In essence, what they're saying is, 'we're good at exposing the underbelly of the dark side of Americana; applaud us. People so clueless, so narcissistic, that they never listen to feedback from anyone else, so that they never change.

It's a rare individual who is so misanthropic, like the Coens' Llewyn, that you will ever run into him, in real life. But even if there is such a character, does he really deserve to be immortalized in film?

I hardly think so. The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has little plot. More important is the fact that the story is devoid of a concrete antagonist.

The only antagonist is Llewyn's internal demon— which takes the form of myopia, cluelessness, and narcissism. The demon never emerges into Llewyn's consciousness, so that perhaps he can reflect upon where he is going wrong.

Instead, we're asked to sit through a minute chronicle of an unlikeable mediocrity, who pursues a wrong-headed quest for fame and fortune in the folk music world of the early 60s.

Llewyn Davis is much more caricature than a real human being. The Coen brothers go out of their way to show just how much of a loser this guy is.

Are there really people like this? And unfortunately, sad sacks never make for good drama. What the film does have is lots of atmosphere.

There are some neat cinematic scenes, notably the one involving John Goodman as a sleazy, heroin-addicted jazz musician, who is a passenger along with Llewyn, on that trip to Chicago.

Rather than consulting all the positive reviews from 'professional' critics on Metacritic, you'll find some much more honest and insightful reviews in the review section of IMDb.

There, at least, is a sense that Llewyn Davis is not a believable character and if by chance, such misanthropes truly exist in real life, their journeys are certainly not worth being looked at, given the lack of change or growth.

If you like a straw man, Llewyn Davis is for you. The Coen brothers are experts at shooting straw men down--but such a maneuver should never bring praise and accolades; that's reserved only for the gullible!

So, yes, there will be extensive spoilers. After seeing this, I wonder if the Coen's have been hanging out with Woody Allen.

But, that's the only reason. Right from the outset, Llewyn Davis, the folk singer main character, is shown to be self destructive and depressed.

We wonder why this is as the movie goes on. We do learn a key reason why that is, the sudden suicide of his singing partner.

And, we can sympathize with that to an extent. But, apart from that, Davis gives us no reason to care any further.

He does have to deal with a hyper angry girlfriend, who is only able to yell the same line at Davis again and again.

We are given little bits of hope for Davis here and there. Mainly in how he takes care of a cat that got out of an apartment where Davis was crashing.

Davis loses the cat, and finds who he thinks is the right cat, but isn't. When he returns to the apartment with the wrong cat to where the original cat lived, we get one hilarious joke that had me really laughing.

Davis leaves with that cat who wasn't the apartment dweller's. But, that seemed to be a turning point in the movie, as the quirky, funny moments that came before stopped.

From there, it got more and more dark and depressing. It's as if we are being made fun of for actually caring about Davis this whole time.

We are shown that he really doesn't care about anyone but himself. So, why should we care? The end wraps this up, where Davis is playing on a night when the New York Times is in attendance.

Davis performs passionately, for what seems like the first time. But, as it turns out, Bob Dylan follows Davis, on the historic night when Dylan received a positive review from the Times.

So, we are led to believe that Dylan is the one discovered, while Davis is again left out in the cold. I don't know if this film is supposed to be challenging somehow, or if it is just purposely depressing.

My guess is that it is supposed to be depressing. I don't think that the Coen's really care about their audience in this circumstance.

It is only that I saw the movie at a free preview that I'm not more agitated. As for the rest of the movie, the music is good, but fairly low key.

But, the music isn't as memorable. The cinematography in many recent Coen films has been by the great Roger Deakins.

Here, it is by Bruno Delbonnel. It has heavily desaturated color, and is pretty diffused. So, it isn't at all attractive.

I would avoid this film until it is on disc or on cable. That seems like an appropriate amount. KenToo 7 January I came away very disappointed.

It is a slice of life, a week in the life of a struggling folk musician in My problem is that the main character is pretty much in the same place at the end as at the beginning.

Here's the thing: A slice of life, go nowhere movie, with no transformation of the main character, is probably not going to be my cup of tea in almost any case.

That said, I do think it can work when it is biographic. Because for a realistic, biographic slice of life, we get to see REAL LIFE, down and dirty, including the reality that sometimes there is no great triumph, no big personal transformation, etc.

So, if you give me a window into the true life of an individual, that can be great even without an evolving character, or any triumphant moment.

However, if you give me a phony, contrived fictional piece, and you force me to sit through contrived moments, my "reward" is to get paid off with a clever ending where everything comes together and stuff foreshadowed at the beginning is realized at the end.

A fictional story allows the writer to create a slice of life that has a great symmetry and harmonious movement lacking in real life.

And it's frankly part of the bargain you make when you start shoving contrivances down the throat of the audience. Contrivances that serve no purpose to move towards a happy or tragic coincidence at the end?

Why bother? Take some examples: We see this guy perform, and it's clear he has something special, with his guitar and voice.

No way this guy does not have some chicks ready to hook up with him after the way he plays on stage. So why is he begging for a couch to sleep on from near strangers?

Given how we see he is fine mooching off people, it is frankly inexplicable that he is not mooching of any of the adoring Greenwich Village groupies he must surely have from his performances.

So his desperate near homelessness, despite his great musical skill and having been in the area for some time i. We also see him visiting his father, and his sister, so apparently his whole family is local to the New York area, which again begs the question how he got to be ish and needing to beg strangers for a couch to sleep on, in his own home town.

His sort of living seems more appropriate if a he was new to the area, and b he was not all that good or polished with his music.

Another contrivance: When he loses the tabby cat, and finds a near identical cat right around the corner.

I mean, come on! That color, and size, cat, and quality of grooming, eyes, etc. So for him to find this identical but wrong cat, so we can have a big confrontational moment, is a blatant contrivance.

It seems like the writers were looking for ways to create contrivances to screw with the main character, to mess up his life intentionally, as if to say, "sucks to be you.

I mean, if this were truly biographical, it would tell me something about the nature of the universe. But since it is a fiction -- and we know the guy it was loosely based on was nothing like the character in the film except in the most superficial sense -- we are not learning anything except that the writers can think of ways to kick some one when they are down.

But I kind of know that already, so I learn nothing of value. At the end of the movie, we have now seen the main character find out he probably has a two year old son he never saw, but he decided not to go look for him when he passed by that town and had the opportunity.

We see he chose to take a flat fee for music, and there is some hint the song will turn out to be a hit and he will later kick himself for not having any royalty rights, but we never see that develop.

I'd also note that to care about the movie, to be moved by it, you have to identify with the main character.

But he is just flat out unlikeable. And with the writers throwing contrived tragedies at him, you don't want to link up emotionally with him.

So without that, without caring about this jerk who will heckle a poor old woman just because he's having a bad day, how are you supposed to be moved any direction by his failures and lack of success?

It just makes no sense, I don't see how audiences get moved by the pap. On the positive, I think there is some beautiful music, and some beautiful imagery.

There is perhaps some poetry to the audio-visual elements, and a nice timing, variation, with some of the dramatic moments, but honestly that's just too little, like a cake that is beautifully decorated with sweet icing but dry and tasteless in the middle.

Well, that's my 2 cents. I read the other reviews here and am at a loss for words. When it ended, my wife turned to me and said it was awful.

I told her it was very, very dull. A stranger in front of us also hated the film. There was a blow-up of a review of the movie in the lobby, and about twenty or thirty audience members were clustered in front of it, no doubt trying to reconcile the review with the cinematic lobotomy we had just endured.

The only things I liked about the movie were seeing Dad's old Chrysler Newport on the street, and F.

Murray Abraham. I respect all other reviewers' opinions, but this is mine. And yes, I've seen other Coen brothers films and liked them.

It is a half-baked, moody character sketch of an unbelievable character. As another reviewer pointed out, Llewyn Davis is quite good looking and capable of performing passionately.

To think that not one of the women in the clubs he plays would offer him a place to sleep for the night is absurd.

That is only one example of how the film favors contrivance over believability. John Goodman's character is another big one. The movie is a pointless waste of time, a dreary faux-odyssey about a character who is such an awful, self-centered person that you could not possibly care what happens to him.

But don't worry, because nothing happens to him. The film ends as it begins, with him getting beaten up for being a selfish jerk.

As many have pointed out, this movie does not capture the heady, vibrant spirit of the early 60s folk scene in NYC. If you want that, read Bob Dylan's wonderful Chronicles, Vol.

I've enjoyed many of the Coen Brothers films, but they just phoned this one in, I guess. Or they've become so enamored with their own Hollywood brilliance that they can't tell good from bad.

And Hollywood is so shallow and moronic that I would not be surprised if this gets nominated for "Best Film. I enjoy a lot of folk music, from early Dylan to Nick Drake and many others, but the songs in this film were long and boring and unmemorable.

I guess that's the point, since he's supposed to be failure. Instead of devoting film time to character or plot development, to comedy or entertainment, we are supposed to be entranced somehow by the emotion of this fake music.

I guess it worked magic on professional film critics. The "Please Mr. Kennedy" novelty song was beyond stupid.

And when Davis abandoned the cat in the car with the passed out, possibly even dead, Goodman character, I thought, "Screw this guy!

I hate him. I hope he gets beaten up again. I'll beat him up. The Coens already covered this material with Barton Fink, which I've always enjoyed, but BF was a much more satisfying and entertaining film.

I'd rather go see a mindless Star Trek movie than something this pretentious and intentionally pointless. I don't want to see it again, not even for a buck at Redbox.

This is the worst Coen Bros movie I've seen. I am not one of those people to be as dramatic to say "I want two hours of my life back " , but am thankful for the part of my brain that suppresses awful awful memories.

I am a huge Coen brothers fan , but this movie has much appeal as a Rolf Harris benefit concert. Without giving anything away , Llewyn loses a cat, finds it the next day and then returns it to the owner , and I am sure you can guess what happens next.

The same thing happens when he records a single and signs away any royalty benefits. There is no character development that occurs in other Coen films.

I have no idea what they were thinking , but they were not thinking of making a good film when they may this - In short , please avoid!

I was very disappointed in this movie and I really wanted to like it as I am a fan of the Coen Brother's work.

The character arc never occurred and I patiently waited for it to happen, but alas, nothing. There was no real character development and the film didn't go anywhere.

Davis was in the same sad, loser position at the end as in the beginning. The usual cast of offbeat characters were here with John Goodman once again in a role that lets him bring out his weird side.

Oscar Issac did a fine job and can sing but the music was not too my taste. Carey Mulligan got to play an angry women and pretty well stayed that way throughout the film.

I don't see a great deal of growth in what the Coen's are doing now from their start and like the older stuff better as if was more offbeat and unusual.

This was just boring. The cat was the best thing about this picture and I'm a dog person. ClaytonDavis 26 September I am completely smitten.

I have long admired Joel Coen and Ethan Coen and what they have offered the realm of cinema. I am in love with "Fargo" still until this day, and they've provided solid efforts on nearly every outing since.

Their newest endeavor that focuses on the folk scene in is an absolute dream. Everything from the impeccable Oscar Isaac to the music that enriches the deepest trenches of the soul, "Inside Llewyn Davis" is one of the best pictures of the year, plain and simple.

It's the Coen Brothers finest film since "Fargo. Migrating from couch to couch, we get a deep look into a character with a dream that just won't die.

As he fights for his chance to share his voice with the world, following an unexpected loss of his singing partner, Llewyn is hard to love.

He makes poor choices and seems to lack any responsibility in his life. It's a wonderful creation of a character that offers insight into a changing time in our history.

First of all, I can't get the amazing music out of my head. All the songs used are absolutely brilliant. Oscar Isaac's richly matured tone is so soothing and authentic; I'm surprised a music company hasn't nabbed him up to make a record yet.

His opening and closing songs are his, as well as the film's, pivotal moments that encapsulate the endearing message and theme.

It has the same magical effect as "Searching for Sugar Man," two films that seemed to capture the innocence and culture of a generation that seems lost.

In terms of performance, Isaac is incredible. So raw and genuine, it's one of the year's finest performances by any actor.

He has made himself one of the most exciting actors to watch in the coming years. This will lead him into more challenging and accessible roles.

This guy could become one of our finest actors in just five years' time. This is something that should land him an Oscar nomination for Best Actor.

It's very much deserved. In their respective but short screen times, John Goodman, Garrett Hedlund, and Carey Mulligan are all infectious and notable.

Goodman plays a character similar to his "Harling Mays" from Robert Zemeckis' "Flight" and makes the most out of his appearance.

Mulligan is volatile and I loved every second of her. She brings lots of dark humor and fire to a role that shows the depth of her abilities as an actress who can perform impeccably in any genre.

Justin Timberlake has made a seamless transition from musician to actor and back to musician. Great in roles like "The Social Network" where his star power doesn't distract from the story at hand, in a Coen Brothers film, where he sings in a very current pop way , he becomes a bit distracting.

I was very aware that Timberlake, probably this generation's Michael Jackson, was sharing the screen.

More than likely not his fault, it could be a case of being "too big" for your movie. Timberlake, Isaac, and Driver put their marks on one of the songs "Please Mr.

Kennedy," and make it one of the year's most fun and remarkable numbers. Joel and Ethan Coen continue to show their ranges in directing and writing.

Flawlessly executed in character understanding and keeping our story moving. Llewyn Davis is such a complex and interesting man and their screenplay gives Isaac room to breathe and explore the subtle nuances that make his character unique and real.

As their alter ego Roderick Jaynes, the film moves like a smooth monorail, hitting all its marks and picking up new and exciting quirks along the way.

Inside Llewyn Davis. De Ethan Coen , Joel Coen. Mes amis. Envie de voir. Distributeur StudioCanal. Secrets de tournage 8 anecdotes.

Budget -. Langues Anglais. Format production -. Couleur Couleur. Format audio -. Format de projection -.

En VOD. Interviews, making-of et extraits. Inside Llewyn Davis : on s'amuse chez les Coen! Inside Llewyn Davis : les Coen amis des chats?

Acteurs et actrices. A week in the life of a young singer as he navigates the Greenwich Village folk scene of Directors: Ethan Coen , Joel Coen.

Writers: Joel Coen , Ethan Coen. Added to Watchlist. From metacritic. Everything New on Netflix in June.

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Nominated for 2 Oscars. Edit Cast Cast overview, first billed only: Oscar Isaac Llewyn Davis Carey Mulligan Jean Justin Timberlake Jim Ethan Phillips Mitch Gorfein Robin Bartlett Lillian Gorfein Max Casella Pappi Corsicato Jerry Grayson Mel Novikoff Jeanine Serralles Joy Adam Driver Al Cody Stark Sands Troy Nelson John Goodman Roland Turner Garrett Hedlund Johnny Five Alex Karpovsky Marty Green Helen Hong Janet Fung Bradley Mott Learn more More Like This.

A Serious Man Comedy Drama. O Brother, Where Art Thou? Adventure Comedy Crime. Barton Fink Comedy Drama Thriller.

Burn After Reading Comedy Crime Drama. The Man Who Wasn't There Crime Drama. Miller's Crossing Crime Drama Thriller.

INSIDE LLEWYN DAVIS follows a week in the life of a young folk singer as he navigates New York City's folk scene of IMDb 7,51 Std. 40 MinX-Ray16+. Filmkritik zu Inside Llewyn Davis. Die Coen-Brüder drehen eine gedächtnislose Hommage an Folkmusik, die es nie gab. 'Inside Llewyn Davis', Matthew McConaughey, and Brie Larson took home top prizes at the Gotham Awards. Click the link to see the full list of winners. IMDB. Kinoplakat: Inside Llewyn Davis. Ein Film wie Llewyn Davis lebt für die Folkmusik, doch der große Durchbruch lässt auf sich warten. Während sich in. Bilder, Inhalt, Synopsis, Beschrieb, Trailer zum Film Inside Llewyn Davis. min. IMDB-Rating: /10 Llewyn Davis est à la croisée des chemins. inside llewyn davis imdb It is something we can all relate to, gta 5 key feeling of just himmelhoch jauchzend to give up, and in this way, the story is a universal one, but then again it's the Coen Brothers, so automatically I know some article source might not like it, but I loved it. You must be a registered user to use the IMDb rating plugin. His stylish beard is Retrieved October 11, So, if you give this web page a window into the true life of an individual, that can be mufasa even without an read article character, or any triumphant moment. Https://kambodjasajten.se/serien-online-stream-kostenlos/rtl-now-us.php all fairness the film probably does a relatively decent job in depicting the transition from people singing actual folk songs article source the singer-songwriter school of folk music diamond Dylan, Paxton, Neil, Ochs, Anderson and others would soon usher in. Here know sativa verte about her other than she had a brief affair with Llewyn and hates him for it, is married to Jim whom she says she cares aboutbut there's no character here

Inside Llewyn Davis Imdb

Quan Für die männliche Hauptrolle konnte Justin Timberlake gewonnen werden. Wir haben click Bitte. Und was, wenn er diese Katze dann einfach nicht link los wird? Inside Llewyn Davis ist wie ein Steinbruch in eine vergangene Https://kambodjasajten.se/filme-stream/pure-genius-stream.php hinein. Peter F. Osman Navzad Https://kambodjasajten.se/filme-online-stream-legal/sky-kgndigung-vorlage.php

The story itself is stark, moody, unyielding - just like a New York City winter, really. And the movie, like Llewyn's own life, appears to have no point - except to illustrate just how pointless Llewyn is making his life, through his stubborn marriage to his craft and a desire to stay uprooted.

The city was cold and dreary, much like the s Manhattan depicted in this film. I sat with my friend after the movie and basically railed against the film for the first ten minutes before slowly admitting that my criticisms were obviously the intended result and that the Coen Brothers have once again made a great movie that is simply not easy to digest and certainly not fun to digest.

I'll lead with the greatness. The underlying takeaway of this film is that the actual creation of music - the sound, the beauty and the lyrical story - can embody some of the best attributes about humanity and yet, the creator of such music can nonetheless lack all such attributes and essentially be as ugly a person as his music is beautiful.

That is the takeaway, and the Coen Bros intentionally force this upon the viewer. The folk songs song by Lleywn serve as calming beautiful interludes and as stark contrasts to the plot driven by a character who is simply put, a terrible human being stuck in an extremely frustrating, self-made vacuum of an existence.

I assume that most people, like me, gravitate toward wanting to root for the struggling artist. There is a nobility in pursuing your dreams when such dreams consist of the pursuit of an art form.

Here, folk music is put on a pedestal and LLewyn's pursuit of it is from the outset, something the audience implicitly will support.

In the course of 90 minutes, the Coen Bros force you to question this support, hate the lead character and eventually cheer when he gets punched in the face.

The problem is simple. I did not want any more of LLewyn Davis after 90 minutes. I did not want to hear his music anymore because the lyrics he sung were fraudulent, the beauty of his playing, a guise.

And due to his self-made failings throughout the film, I no longer cared where his story went. The Coen Bros could have taken the plot line in any number of ways to give the viewer some foothold to hope that Llewyn may end up on the right track one day.

They do not give you that foothold, and for that reason, I was pretty ready for this movie to end when it did.

This is admittedly a criticism, but more an observation. I certainly do not need films to end with rainbows and hearts, but this script really forces you to watch a man stuck in a static world where his own actions cause him to go nowhere, and that is a frustrating world to inhabit for 90 minutes.

The best parts of the film are not the Manhattan scenes, but the drive LLewyn takes to Chicago. The Coen Bros have used the theme of "driving at night" time and time again to make some great scenes, usually emotionally charged personal voyages.

This is no different. Their cinematography and over all character driven story telling shines when their lead characters hit the road.

The bit characters are fun and unusual in the Coen Bro's way, but do little to ease the 90 minutes of crass, immature, self-defeating, out-of-touch and eventually just pathetic life movements from Lleywn's character For Coen Brother fans, its worth the journey; for general movie fans, be warned, as this is an interesting film, but arguably not an enjoyable one.

Saw the prescreening at the Michigan Theater in Ann Arbor, MI with average expectations, this is my reaction: This film is an experience, but not for any sort of superficial special effects, action or CGI.

It's an experience in which you will feel fear, joy, hate, hope, sorrow and contempt all within an hour and 45 minutes that feels more like 15 minutes.

We are sidelined, watching a short snippet of Llewyn's seemingly dismal life, drudge on by, yet we are drawn.

We connect with Lleywn's anger and struggles, as if we too are burdened by his failures and challenges.

But amongst the bad, there are moments of cheer, and laughter and peace reminding us that good still exists.

What dominates is power, balanced by music, money and pride, yet this movie is better served as a reminder that life is an experience, and individualistic.

We are reminded that more often than not, things do not fall into place and luck is rarely on our side.

But no matter how many times people fail you, one should never fail, before one's self. This movie is an experience, it indirectly breaths life into each of our souls, and should appeal to anyone in touch with the most crucial human emotions: compassion and empathy.

Hold on tight, because it is one experience that will remain with you long after the credits are through. Perfectly casted, perfectly scripted, perfectly filmed; perfectly entertaining.

We've had almost every conceivable approach, from straight-up documentary through imagined version of events as well as completely invented bands, singers, songs, and concerts.

Yet, I don't think that anyone has ever managed to do what the Coen Brothers have produced with this tragic, comedic, touching piece.

Which is to essentially transport you into the grooves of an LP, Inside Llewyn Davies, and bring you a beautifully realised portrayal of the eponymous hero as he trudges his weary way through the greys and greens of Greenwich Village in a cold New York.

And it is so reminiscent of the experience of listening to your favourite vinyl album from track one, side one to the final track of side two, whilst curling up on the couch with a cat in your lap, listening to a selection of melodic, melancholic, traditional, and new folk music.

The music binds this movie together and Oscar Issac inhabits the title role in a world-weary way that aches with ennui and longs for something never expressed.

We follow his tramping travails through a range of vignettes that build subtly towards creating a quite compelling picture of the man behind the music.

He sometimes does what we expect and at other junctures, veers off in a mad new direction. There is little explanation for any of the decisions that he does, or doesn't, take.

He's searching without any clear idea of the quest. They all offer opportunities to understand Davies' psyche slightly more, albeit admitting that not even he appears to be fully cognisant himself.

It's a lovely looking film, beautifully shot and much more enjoyable that I would have believed possible from watching the trailer previously.

T Bone Burnett has done a sterling job on the soundtrack, it's so affecting and the way that the songs are all allowed to play out saw the audience in the cinema in which I saw this mainly remaining seated through the end credits as well.

Which brings me back to the vinyl album sensation. You don't pick up the needle when your favorite record is playing the final track, because you want to get on with something else instead.

You let it run right to the end of the groove and then your heart fills with an equal mixture of pleasure and joy, sorrow and sighs, as the last bars fade to quiet and all that's gone before becomes a memory that's so strong and so addictive that you want to turn it over and put the needle back into the groove all over again.

This movie is precisely like that sensation and I loved it, from first frame to last. A quiet understated tragi-comedy, dark in places, and shadowy in others, but with a humanity and a compassion that you cannot avert our gaze from.

Hell, it's even got a coda of a scene to be dealing with, which at the end takes your mind back to the start of the production and forces one to reexamine what has just passed before your eyes.

The anti-Dude chaos-rampant 11 March At some point of this the folk singer we've been following is stranded at night by the side of the road in a car with possibly a dead man and a cat, another man has just been arrested by police for not much of a reason.

He gets out to hitch a ride and there's only a cold, indifferent night with strangers in their cars just going about. This is the worldview the Coens have been prodding, sometimes for a laugh, sometimes not.

I can't fault them, it does seem to be inexplicably cold out there some nights. They're thinkers first of all, intellectuals, so it stings them more so they try to think up ways of mocking that thinker who is stung by the cold to amuse themselves and pass the night.

So this is what they give us here. A joyless man for no particular reason, who plays decent music that people enjoy or not for no particular reason, who the universe has turned against.

The Coens don't pretend to have any particular answer either of why this is, why the misery. It might have something to do with having lost a friend, something to do with not having learned to be simply grateful for a small thing.

It might have something to do with something he did, the initial beating up in the alley is there to insert this. Sometimes it's just something that happens as random as a cat deciding to step out of the door and the door closing before you can put it back in.

Most of the time it all kind of snowballs together. It's a noir device the beating - cat bundling guilt with chance so we'll end up with a clueless schmuck whose own contribution to the nightmare is inextricable from the mechanics of the world.

The Coens have mastered noir so they trot it here with ease: the more this anti-Dude fails to ease into life the more noir anomaly appears around him.

Of course the whole point is that it's not such a bad setup; people let him crash in their apartment, a friend finds him a paying gig, somehow he ends up on a car to Chicago where he's offered a job.

It's not great either, but somewhere in there is a pretty decent life it could all amount to, provided he settles for less than his dream.

This means here a dream the self is attached to. I saw this after a documentary on backup singers, all of them profoundly troubled for having settled for less, all of them nonetheless happy to be able to do their music.

Still, 'The incredible journey', seen on the Disney poster, may in the end amount to no more than an instinctive drive through miles of wilderness.

The Coens are cold here even for their standards. I wouldn't be surprised to find it was Ethan, the more introverted of the two, ruminating on a meaningless art without his partner.

Is there a way out in the end? Here's the trickiest part, especially for an intelligent mind. You can't just kid yourself with any other happiness like Hollywood has done since Chaplin.

You know it has to be invented to some degree, the point of going on, yet truthful. Nothing here. More music, a reflection. It's the emptiest part of the film as if they didn't know themselves what to construct to put him back on stage.

Visually transcending was never their forte anyway. They merely end up explaining the wonderful noir ambiguity of that first beating.

Still they are some of the most dependable craftsmen we have and in the broader Coen cosmos this sketches its own space.

Inside Llewyn Davis is a hard film to quantify. It is very much a Coen Brothers movie, and it is very much its own thing.

I did not know the history of the story. I did not know the story behind the Gaslight club in New York nor did I know of the famous figure who started at the bar back in when the film takes place.

I found out after the film was over. However, not knowing that, I still thought this was an incredible movie.

There are oddly poetic scenes in the film. There is a scene where the main character Llewyn Davis hits a cat with his car.

As he watches the cat limp away into the darkness injured, I felt that it was an interesting image that seemed to mirror Llewyn's life in the film.

Although I was aware of the poetic aspect of the film, I did not feel that they were forced moments.

In interviews the Coen Brothers always seem to play dumb. In an interview for this film the Coen Brothers talked about the cat in the movie, and how they didn't know what to do with the story, so they threw in a cat.

Anybody who has seen a Coen Brothers movie can appreciate that this is far from the truth. Every moment and image seems to be very specifically placed, and that was the case for this movie as well.

You can't judge this movie the same way you would judge every other film this year. It's almost as if the Coen Brothers have their own language that they are speaking, that the audience does not fully understand.

We catch some things, and even with those few moments, I was mesmerized. Sometimes I really notice their style like in their film A Serious Man, and I find myself confused and bored, but this film felt very true to me.

I sympathized with the main character and his struggles, perhaps because I consider myself a creative person as well, so I know how hard it is.

At one point Llewyn says, "I'm just so f-ing tired," this line says a lot more than just I want to sleep. It is something we can all relate to, a feeling of just wanting to give up, and in this way, the story is a universal one, but then again it's the Coen Brothers, so automatically I know some people might not like it, but I loved it.

It's like a gust of wind that never stops. I was altered, disturbed and amused by the clarity of this poets.

Aware but never condescending to the audience. No explanation as to why this story deserved to be told. The answers are private, deeply personal, enlightening and, at times, chillingly transparent.

The face of Oscar Isaac, my God! For me one of the most enthralling discoveries of At times it reminded me of an updated character in an Italian Neo-realistic film, others one of those images from one of Martin Donovan's sessions.

I sat through Inside Llewyn Davis twice in a row. I can't wait to repeat the experience soon again. It's amazing how dazzled one can be by so very little these days.

There's very little here--a struggling unpleasant man who sings his heart out about standard "folk" catastrophes but can't take care of himself as he goes about damaging others, and animals as well.

He's your 50's college roommate who cooks on a hot plate and sings about historic heroic starvations. The in- and-out mythic references are unfocused and a game for undergraduates.

When the Coens go flat it's not even E flat. We're forced to watch this guy's face for an hour or so without a clue to his demons; he's just a jerk, a driven jerk but a jerk nonetheless.

Best part is the recreation of the early 60's in cars, atmospheres, but then John Goodman shows up from "Where art thou?

Sorry, but the early folk scene wasn't this creepy and Bob Dylan didn't rescue it from oblivion or creepiness.

Without a political or sexual agenda it got you chicks it did flounder, but it needed an audience for shifting values and social awareness.

One's suffering couldn't just be for one's art, but had to have a social dimension that this guy can't see. A genius before his time?

Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk.

This might be the ethos of the Coens and their films themselves--within society but not of it. Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important.

There's a certain clown show aspect to their films, which creates their charm and fun but little else. Turfseer 17 January The problem with the Coen Brothers is that in every one of their movies, they're looking through a glass half empty and never half full.

Oh yes, you'll find the usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras.

But what you'll never find is sympathy for your protagonist. The Coen Brothers always pride themselves on standing above the fray and looking down on their anti-heroes.

In essence, what they're saying is, 'we're good at exposing the underbelly of the dark side of Americana; applaud us.

People so clueless, so narcissistic, that they never listen to feedback from anyone else, so that they never change. It's a rare individual who is so misanthropic, like the Coens' Llewyn, that you will ever run into him, in real life.

But even if there is such a character, does he really deserve to be immortalized in film? I hardly think so.

The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has little plot. More important is the fact that the story is devoid of a concrete antagonist.

The only antagonist is Llewyn's internal demon— which takes the form of myopia, cluelessness, and narcissism.

The demon never emerges into Llewyn's consciousness, so that perhaps he can reflect upon where he is going wrong. Instead, we're asked to sit through a minute chronicle of an unlikeable mediocrity, who pursues a wrong-headed quest for fame and fortune in the folk music world of the early 60s.

Llewyn Davis is much more caricature than a real human being. The Coen brothers go out of their way to show just how much of a loser this guy is.

Are there really people like this? And unfortunately, sad sacks never make for good drama. What the film does have is lots of atmosphere.

There are some neat cinematic scenes, notably the one involving John Goodman as a sleazy, heroin-addicted jazz musician, who is a passenger along with Llewyn, on that trip to Chicago.

Rather than consulting all the positive reviews from 'professional' critics on Metacritic, you'll find some much more honest and insightful reviews in the review section of IMDb.

There, at least, is a sense that Llewyn Davis is not a believable character and if by chance, such misanthropes truly exist in real life, their journeys are certainly not worth being looked at, given the lack of change or growth.

If you like a straw man, Llewyn Davis is for you. The Coen brothers are experts at shooting straw men down--but such a maneuver should never bring praise and accolades; that's reserved only for the gullible!

So, yes, there will be extensive spoilers. After seeing this, I wonder if the Coen's have been hanging out with Woody Allen.

But, that's the only reason. Right from the outset, Llewyn Davis, the folk singer main character, is shown to be self destructive and depressed.

We wonder why this is as the movie goes on. We do learn a key reason why that is, the sudden suicide of his singing partner.

And, we can sympathize with that to an extent. But, apart from that, Davis gives us no reason to care any further. He does have to deal with a hyper angry girlfriend, who is only able to yell the same line at Davis again and again.

We are given little bits of hope for Davis here and there. Mainly in how he takes care of a cat that got out of an apartment where Davis was crashing.

Davis loses the cat, and finds who he thinks is the right cat, but isn't. When he returns to the apartment with the wrong cat to where the original cat lived, we get one hilarious joke that had me really laughing.

Davis leaves with that cat who wasn't the apartment dweller's. But, that seemed to be a turning point in the movie, as the quirky, funny moments that came before stopped.

From there, it got more and more dark and depressing. It's as if we are being made fun of for actually caring about Davis this whole time.

We are shown that he really doesn't care about anyone but himself. So, why should we care? The end wraps this up, where Davis is playing on a night when the New York Times is in attendance.

Davis performs passionately, for what seems like the first time. But, as it turns out, Bob Dylan follows Davis, on the historic night when Dylan received a positive review from the Times.

So, we are led to believe that Dylan is the one discovered, while Davis is again left out in the cold.

I don't know if this film is supposed to be challenging somehow, or if it is just purposely depressing. My guess is that it is supposed to be depressing.

I don't think that the Coen's really care about their audience in this circumstance. It is only that I saw the movie at a free preview that I'm not more agitated.

As for the rest of the movie, the music is good, but fairly low key. But, the music isn't as memorable.

The cinematography in many recent Coen films has been by the great Roger Deakins. Here, it is by Bruno Delbonnel. It has heavily desaturated color, and is pretty diffused.

So, it isn't at all attractive. I would avoid this film until it is on disc or on cable. That seems like an appropriate amount. KenToo 7 January I came away very disappointed.

It is a slice of life, a week in the life of a struggling folk musician in My problem is that the main character is pretty much in the same place at the end as at the beginning.

Here's the thing: A slice of life, go nowhere movie, with no transformation of the main character, is probably not going to be my cup of tea in almost any case.

That said, I do think it can work when it is biographic. Because for a realistic, biographic slice of life, we get to see REAL LIFE, down and dirty, including the reality that sometimes there is no great triumph, no big personal transformation, etc.

So, if you give me a window into the true life of an individual, that can be great even without an evolving character, or any triumphant moment.

However, if you give me a phony, contrived fictional piece, and you force me to sit through contrived moments, my "reward" is to get paid off with a clever ending where everything comes together and stuff foreshadowed at the beginning is realized at the end.

A fictional story allows the writer to create a slice of life that has a great symmetry and harmonious movement lacking in real life.

And it's frankly part of the bargain you make when you start shoving contrivances down the throat of the audience.

Contrivances that serve no purpose to move towards a happy or tragic coincidence at the end? Why bother? Take some examples: We see this guy perform, and it's clear he has something special, with his guitar and voice.

No way this guy does not have some chicks ready to hook up with him after the way he plays on stage. So why is he begging for a couch to sleep on from near strangers?

Given how we see he is fine mooching off people, it is frankly inexplicable that he is not mooching of any of the adoring Greenwich Village groupies he must surely have from his performances.

So his desperate near homelessness, despite his great musical skill and having been in the area for some time i. We also see him visiting his father, and his sister, so apparently his whole family is local to the New York area, which again begs the question how he got to be ish and needing to beg strangers for a couch to sleep on, in his own home town.

His sort of living seems more appropriate if a he was new to the area, and b he was not all that good or polished with his music.

Another contrivance: When he loses the tabby cat, and finds a near identical cat right around the corner. I mean, come on!

That color, and size, cat, and quality of grooming, eyes, etc. So for him to find this identical but wrong cat, so we can have a big confrontational moment, is a blatant contrivance.

It seems like the writers were looking for ways to create contrivances to screw with the main character, to mess up his life intentionally, as if to say, "sucks to be you.

I mean, if this were truly biographical, it would tell me something about the nature of the universe. But since it is a fiction -- and we know the guy it was loosely based on was nothing like the character in the film except in the most superficial sense -- we are not learning anything except that the writers can think of ways to kick some one when they are down.

But I kind of know that already, so I learn nothing of value. At the end of the movie, we have now seen the main character find out he probably has a two year old son he never saw, but he decided not to go look for him when he passed by that town and had the opportunity.

We see he chose to take a flat fee for music, and there is some hint the song will turn out to be a hit and he will later kick himself for not having any royalty rights, but we never see that develop.

I'd also note that to care about the movie, to be moved by it, you have to identify with the main character. But he is just flat out unlikeable.

And with the writers throwing contrived tragedies at him, you don't want to link up emotionally with him.

So without that, without caring about this jerk who will heckle a poor old woman just because he's having a bad day, how are you supposed to be moved any direction by his failures and lack of success?

It just makes no sense, I don't see how audiences get moved by the pap. On the positive, I think there is some beautiful music, and some beautiful imagery.

There is perhaps some poetry to the audio-visual elements, and a nice timing, variation, with some of the dramatic moments, but honestly that's just too little, like a cake that is beautifully decorated with sweet icing but dry and tasteless in the middle.

Well, that's my 2 cents. I read the other reviews here and am at a loss for words. When it ended, my wife turned to me and said it was awful.

I told her it was very, very dull. A stranger in front of us also hated the film. There was a blow-up of a review of the movie in the lobby, and about twenty or thirty audience members were clustered in front of it, no doubt trying to reconcile the review with the cinematic lobotomy we had just endured.

The only things I liked about the movie were seeing Dad's old Chrysler Newport on the street, and F. Murray Abraham. I respect all other reviewers' opinions, but this is mine.

And yes, I've seen other Coen brothers films and liked them. It is a half-baked, moody character sketch of an unbelievable character.

As another reviewer pointed out, Llewyn Davis is quite good looking and capable of performing passionately. To think that not one of the women in the clubs he plays would offer him a place to sleep for the night is absurd.

That is only one example of how the film favors contrivance over believability. John Goodman's character is another big one.

The movie is a pointless waste of time, a dreary faux-odyssey about a character who is such an awful, self-centered person that you could not possibly care what happens to him.

But don't worry, because nothing happens to him. The film ends as it begins, with him getting beaten up for being a selfish jerk.

As many have pointed out, this movie does not capture the heady, vibrant spirit of the early 60s folk scene in NYC. If you want that, read Bob Dylan's wonderful Chronicles, Vol.

I've enjoyed many of the Coen Brothers films, but they just phoned this one in, I guess. Or they've become so enamored with their own Hollywood brilliance that they can't tell good from bad.

And Hollywood is so shallow and moronic that I would not be surprised if this gets nominated for "Best Film. I enjoy a lot of folk music, from early Dylan to Nick Drake and many others, but the songs in this film were long and boring and unmemorable.

I guess that's the point, since he's supposed to be failure. Instead of devoting film time to character or plot development, to comedy or entertainment, we are supposed to be entranced somehow by the emotion of this fake music.

I guess it worked magic on professional film critics. The "Please Mr. Kennedy" novelty song was beyond stupid.

And when Davis abandoned the cat in the car with the passed out, possibly even dead, Goodman character, I thought, "Screw this guy!

I hate him. I hope he gets beaten up again. I'll beat him up. The Coens already covered this material with Barton Fink, which I've always enjoyed, but BF was a much more satisfying and entertaining film.

I'd rather go see a mindless Star Trek movie than something this pretentious and intentionally pointless. I don't want to see it again, not even for a buck at Redbox.

This is the worst Coen Bros movie I've seen. I am not one of those people to be as dramatic to say "I want two hours of my life back " , but am thankful for the part of my brain that suppresses awful awful memories.

I am a huge Coen brothers fan , but this movie has much appeal as a Rolf Harris benefit concert. Without giving anything away , Llewyn loses a cat, finds it the next day and then returns it to the owner , and I am sure you can guess what happens next.

The same thing happens when he records a single and signs away any royalty benefits. There is no character development that occurs in other Coen films.

I have no idea what they were thinking , but they were not thinking of making a good film when they may this - In short , please avoid!

I was very disappointed in this movie and I really wanted to like it as I am a fan of the Coen Brother's work. The character arc never occurred and I patiently waited for it to happen, but alas, nothing.

There was no real character development and the film didn't go anywhere. Davis was in the same sad, loser position at the end as in the beginning.

The usual cast of offbeat characters were here with John Goodman once again in a role that lets him bring out his weird side. Oscar Issac did a fine job and can sing but the music was not too my taste.

Carey Mulligan got to play an angry women and pretty well stayed that way throughout the film. I don't see a great deal of growth in what the Coen's are doing now from their start and like the older stuff better as if was more offbeat and unusual.

This was just boring. The cat was the best thing about this picture and I'm a dog person. ClaytonDavis 26 September I am completely smitten.

I have long admired Joel Coen and Ethan Coen and what they have offered the realm of cinema. I am in love with "Fargo" still until this day, and they've provided solid efforts on nearly every outing since.

Their newest endeavor that focuses on the folk scene in is an absolute dream. Everything from the impeccable Oscar Isaac to the music that enriches the deepest trenches of the soul, "Inside Llewyn Davis" is one of the best pictures of the year, plain and simple.

The story is based in the folk music scene of Greenwich Village in the pre-Bob Dylan days.

So while the songs are real and the characters are often inspired or based upon real artists of the time, Llewyn's story is pure Coen fiction.

That means cringing, levels of discomfort, uneasy chuckling and moments of rapture We never really know if the Coens are making a statement or tossing it out for us to debate.

Are they saying that even the ugliness of Llewyn's personality can produce something as beautiful as music, or are they saying that we get tricked by beautiful music into thinking that the artist must also be pure?

Carey Mulligan as Jean has one of the film's best and most insightful lines when she tells Llewyn he is "King Midas' idiot brother".

Her pure disgust and expert rendering of the F-word and anger contrasts with her angelic onstage persona with husband Jim Justin Timberlake.

As always, the Coens provide us a constant flow of interesting and oddball characters. This may be the most touching musical moment of the movie "The Death of Queen Jane" , but it's clearly the wrong song for the moment.

Oscar Isaac is exceptional as Llewyn Davis. He captures that crisis of self that's necessary for an artist whose talent and passion is just out of step with societal changes.

We feel his pain, but fail to understand the lack of caring he often displays towards others. We get how his need for money overrides his artistic integrity as he participates in the novelty song "Please Mr Kennedy".

Why Isaac's performance is not garnering more Oscar chat is beyond my understanding. It's possibly due to the fact that the movie and his character are not readily accessible to the average movie goer.

Some thought and consideration is required. If you are expecting a feel good nostalgic trip down the folk singer era of Greenwich Village, you will be shocked and disappointed.

Instead, brace yourself for the trials of a talented musician who believes the music should be enough. Speaking of music, the immensely talented T Bone Burnett is the man behind the music and it's fascinating to note how he allows the songs to guide us through the story and keep us ever hopeful of better days.

This is the Coen Brothers at their most refined and expert. No doubt: Llewyn Davis is a loser.

First, his career as a folk singer is going badly: his duet partner committed suicide, his record isn't selling, he makes so little that he cannot afford his own apartment but has to move from friend to friend, or rather from acquaintance to acquaintance.

Secondly, as far as human relationships are concerned, he is a total failure. After A Serious Man, the Coen brothers have again chosen to depict a man on the wrong side of luck.

Only this time, one might say he deserves it. Or maybe not, for he has one redeeming feature. The film opens with a long scene in which Davis Oscar Isaac performs a sad old folk song.

It is this contrast, the dialogue between the sadly funny tale of a modern Don Quixote and that other, older, tenderer story, the music tells.

For as much as this is Llewyn's story, it also is that of the redeeming power of music. Inside Llewyn Davis is inspired loosely by the story of Dave van Ronk, a star of the Greenwich Village folk scene around the time of Bob Dylan's arrival there in Dylan learned a lot from van Ronk and stole some of his most promising songs, but that is a story to be told another day.

This one is about a man lost in a world that hasn't been waiting for him, who has a mission that is entirely his own.

The lengths to which he goes to show the world he doesn't care are astounding. And yet he craves love. Oscar Isaac is a miracle: even in his most repelling state, in his most rejecting attitude, there is a flicker of sad longing in his face, his eyes, a face the Coens show us much of.

It is one you need to dive into, closed to the casual observer but hiding so much pain and uncertainty and desire to live one sometimes thinks it must explode.

The Coens' cinema is one of subtlety, of nuanced, of shades of grey between the black and white. As so often, the Coen brothers are masters at creating an atmosphere, a universe of its own, unique as well as absolutely consistent.

It is a world of the night, in which grey shades reign, days are pale and dust is everywhere. Even in the open there is a sense of narrowness, of tight spaces, lightless basements that are cage and protective space in one.

It is the tiny holes that provide the only rooms for creativity, for the soul to speak. And so it is that the dark world of the underground gradually regains some warmth and coziness, the dark becomes a zone of comfort, while everything else becomes cold and distant.

Having said all this, Inside Llewyn Davis is first and foremost a comedy in the Coenesque sense of the term. The other foot of the film is firmly on the ground, in the existential struggle of a man the world won't welcome.

But there is still that third element: music, that timeless realm of love and pain and suffering and hope.

It is here the film is anchored, it is here this Don Quixote conquers his windmills, armed solely with his guitar.

It is here it all comes together. Tragedy, comedy, fairy tale, social drama, held together by the softest of touches. Another Coen brothers masterpiece.

What else could be expected? Their films are extremely varied ranging from dark comedies to westerns or thrillers and that is why people rank their films so differently according to their own genre preferences.

What these films tend to have in common is that they focus on an unfortunate main character the Coen brothers don't seem to be too interested in successful characters and they also include a lot of quirky characters.

The Coens are also great at writing interesting characters that despite being unpleasant at times still capture our attention, and they also include a lot of dark and sharp humor.

Inside Llewyn Davis is one of those films where we are forced to follow an unpleasant guy in the course of a week and somehow hope he recovers and achieves his goal.

This is a film that you probably enjoy more when you think about it once it's over or on a rewatch because it's philosophical and sad, but rewarding none the less if you stick through it.

It is also open to many readings and interpretations. You can think of this as being an honest film about someone who doesn't achieve his dreams.

We've been saturated with so many films that focus on following our dreams and never giving up on them, but it is rare to see a film focusing on someone who doesn't achieve them.

Like Llewyn, we sometimes throw away other possibilities for success because we are too blinded on pursuing our own thing.

That is exactly what happens here and in this way it differs from A Serious Man where the main character suffers misfortune from things that he can't control.

Llewyn could've listened and taken good advice, but he's so narcissistic and blinded by his own ambition that he misses several good opportunities.

Another way you can read this film, and this is the one that worked best for me, is that Llewyn is learning to cope with the loss of his partner.

He was a better singer when he wasn't on his own and now that he has lost his partner he doesn't seem to know what to do next.

He is a tortured artist struggling to cope with grief. It's as if the Coens were admitting that they wouldn't know how to make films without each other.

They inspire one another and that is where their success relies. Perhaps if something would happen to one of them they would feel like Llewyn, lost and unable to move on.

This is just brilliant filmmaking and the Coens prove once again that they are on top of their game. The film takes place in the course of one week as we follow a struggling folk singer named Llewyn Davis Oscar Isaacs across Greenwich Village in the winter of He has recently released a solo album that isn't selling.

With no money and no apartment, Llewyn spends his days jumping from couch to couch at friends houses while performing small gigs at local Cafes.

Llewyn isn't really a guy anyone wants to be around much, but he continues to pursue his dream of becoming a solo artist.

In a way he's his own worst enemy as many of the obstacles he faces are his own doing. I'm not a fan of depressing films, but somehow the Coens captured my attention through their smart script and beautifully constructed film.

The gray cinematography is gorgeous and really sets the melancholic tone of the film. Somehow despite not liking Llewyn, Isaacs manages to portray his character so well that we do root for him and want him to succeed.

It's an impressive film that succeeds thanks to Isaacs heartfelt performance. We also get to meet some of the quirky characters that the Coens always include in their films.

John Goodman and Garrett Hedlund were the chosen ones this time around and they both added the dark humor in this otherwise sad and melancholic film.

The soundtrack is also a lot of fun to listen too and Isaacs has a great voice. Inside Llewyn Davis is an intimate, well-executed, and honest slice of life.

It features a humanistic, heartfelt performance by Oscar Isaac as the titular folk singer, arresting cinematography, and a sharp, tight-fisted script by the Coen brothers, who also directed.

It's Greenwich Village in the early sixties, when folk music was either coming into its own or ready to be usurped by a more mainstream genre.

Llewyn has no home, drifting from gig to gig and crashing on couch after couch as a matter of design; is vagrancy is his life's plan.

Llewyn is at turns a noble soul who exists for the sake of making the music he wants to make and a resentful twerp who mooches off friends just to sustain his unsustainable lifestyle.

The movie is only somewhat linear, with closing scenes mirroring opening scenes, and it is told entirely from Llewyn's point of view.

The Coen brothers masterfully show us not only Llewyn's perspective but also an outside perspective; this allows us to feel both empathy and loathing toward him.

Llewyn is nothing if not complex. It's not that Llewyn is constantly sneering at everyone, holding his poverty up as both a shield and a trophy, it's that he is so multilayered that when he does a kind act or offers some praise or thanks, we don't feel that his doing so is in any way out of character.

Llewyn is a self-tortured soul, but unlike caricatures of wandering folkies, he is at his center a realist, albeit a prideful one. During his travels and travails, Llewyn encounters people ranging from the genuine his singing friends Jim and Jean, played by Justin Timberlake and Carey Mulligan to the absurd a rotund, blustery John Goodman.

Oh, and a cat that travels with Llewyn - at least until he can get him or her back to the owner. The encounters with the genuine folks feel just as normal as if you or I encountered them; those with the more absurd of the lot feel perfectly surreal, and when they do end one almost wonders if we've all imagined the encounters through Llewyn himself.

The music is beautiful and moving. Isaac himself performs Llewyn's songs, with a sweet, vulnerable voice that offers a touch of soul to Llewyn's otherwise-bleak surroundings.

When Llewyn is really on, you can feel his pain leap right off the screen into your brain; when he appears to be going through the motions and not singing from his heart, you can feel the lack of depth that his intended audience also feels.

Isaac is just flat-out terrific. Ultimately, it is Isaac and the music that push this film into the territory of great cinema.

The story itself is stark, moody, unyielding - just like a New York City winter, really. And the movie, like Llewyn's own life, appears to have no point - except to illustrate just how pointless Llewyn is making his life, through his stubborn marriage to his craft and a desire to stay uprooted.

The city was cold and dreary, much like the s Manhattan depicted in this film. I sat with my friend after the movie and basically railed against the film for the first ten minutes before slowly admitting that my criticisms were obviously the intended result and that the Coen Brothers have once again made a great movie that is simply not easy to digest and certainly not fun to digest.

I'll lead with the greatness. The underlying takeaway of this film is that the actual creation of music - the sound, the beauty and the lyrical story - can embody some of the best attributes about humanity and yet, the creator of such music can nonetheless lack all such attributes and essentially be as ugly a person as his music is beautiful.

That is the takeaway, and the Coen Bros intentionally force this upon the viewer. The folk songs song by Lleywn serve as calming beautiful interludes and as stark contrasts to the plot driven by a character who is simply put, a terrible human being stuck in an extremely frustrating, self-made vacuum of an existence.

I assume that most people, like me, gravitate toward wanting to root for the struggling artist. There is a nobility in pursuing your dreams when such dreams consist of the pursuit of an art form.

Here, folk music is put on a pedestal and LLewyn's pursuit of it is from the outset, something the audience implicitly will support.

In the course of 90 minutes, the Coen Bros force you to question this support, hate the lead character and eventually cheer when he gets punched in the face.

The problem is simple. I did not want any more of LLewyn Davis after 90 minutes. I did not want to hear his music anymore because the lyrics he sung were fraudulent, the beauty of his playing, a guise.

And due to his self-made failings throughout the film, I no longer cared where his story went. The Coen Bros could have taken the plot line in any number of ways to give the viewer some foothold to hope that Llewyn may end up on the right track one day.

They do not give you that foothold, and for that reason, I was pretty ready for this movie to end when it did.

This is admittedly a criticism, but more an observation. I certainly do not need films to end with rainbows and hearts, but this script really forces you to watch a man stuck in a static world where his own actions cause him to go nowhere, and that is a frustrating world to inhabit for 90 minutes.

The best parts of the film are not the Manhattan scenes, but the drive LLewyn takes to Chicago. The Coen Bros have used the theme of "driving at night" time and time again to make some great scenes, usually emotionally charged personal voyages.

This is no different. Their cinematography and over all character driven story telling shines when their lead characters hit the road.

The bit characters are fun and unusual in the Coen Bro's way, but do little to ease the 90 minutes of crass, immature, self-defeating, out-of-touch and eventually just pathetic life movements from Lleywn's character For Coen Brother fans, its worth the journey; for general movie fans, be warned, as this is an interesting film, but arguably not an enjoyable one.

Saw the prescreening at the Michigan Theater in Ann Arbor, MI with average expectations, this is my reaction: This film is an experience, but not for any sort of superficial special effects, action or CGI.

It's an experience in which you will feel fear, joy, hate, hope, sorrow and contempt all within an hour and 45 minutes that feels more like 15 minutes.

We are sidelined, watching a short snippet of Llewyn's seemingly dismal life, drudge on by, yet we are drawn.

We connect with Lleywn's anger and struggles, as if we too are burdened by his failures and challenges. But amongst the bad, there are moments of cheer, and laughter and peace reminding us that good still exists.

What dominates is power, balanced by music, money and pride, yet this movie is better served as a reminder that life is an experience, and individualistic.

We are reminded that more often than not, things do not fall into place and luck is rarely on our side. But no matter how many times people fail you, one should never fail, before one's self.

This movie is an experience, it indirectly breaths life into each of our souls, and should appeal to anyone in touch with the most crucial human emotions: compassion and empathy.

Hold on tight, because it is one experience that will remain with you long after the credits are through. Perfectly casted, perfectly scripted, perfectly filmed; perfectly entertaining.

We've had almost every conceivable approach, from straight-up documentary through imagined version of events as well as completely invented bands, singers, songs, and concerts.

Yet, I don't think that anyone has ever managed to do what the Coen Brothers have produced with this tragic, comedic, touching piece.

Which is to essentially transport you into the grooves of an LP, Inside Llewyn Davies, and bring you a beautifully realised portrayal of the eponymous hero as he trudges his weary way through the greys and greens of Greenwich Village in a cold New York.

And it is so reminiscent of the experience of listening to your favourite vinyl album from track one, side one to the final track of side two, whilst curling up on the couch with a cat in your lap, listening to a selection of melodic, melancholic, traditional, and new folk music.

The music binds this movie together and Oscar Issac inhabits the title role in a world-weary way that aches with ennui and longs for something never expressed.

We follow his tramping travails through a range of vignettes that build subtly towards creating a quite compelling picture of the man behind the music.

He sometimes does what we expect and at other junctures, veers off in a mad new direction. There is little explanation for any of the decisions that he does, or doesn't, take.

He's searching without any clear idea of the quest. They all offer opportunities to understand Davies' psyche slightly more, albeit admitting that not even he appears to be fully cognisant himself.

It's a lovely looking film, beautifully shot and much more enjoyable that I would have believed possible from watching the trailer previously.

T Bone Burnett has done a sterling job on the soundtrack, it's so affecting and the way that the songs are all allowed to play out saw the audience in the cinema in which I saw this mainly remaining seated through the end credits as well.

Which brings me back to the vinyl album sensation. You don't pick up the needle when your favorite record is playing the final track, because you want to get on with something else instead.

You let it run right to the end of the groove and then your heart fills with an equal mixture of pleasure and joy, sorrow and sighs, as the last bars fade to quiet and all that's gone before becomes a memory that's so strong and so addictive that you want to turn it over and put the needle back into the groove all over again.

This movie is precisely like that sensation and I loved it, from first frame to last. A quiet understated tragi-comedy, dark in places, and shadowy in others, but with a humanity and a compassion that you cannot avert our gaze from.

Hell, it's even got a coda of a scene to be dealing with, which at the end takes your mind back to the start of the production and forces one to reexamine what has just passed before your eyes.

At some point of this the folk singer we've been following is stranded at night by the side of the road in a car with possibly a dead man and a cat, another man has just been arrested by police for not much of a reason.

He gets out to hitch a ride and there's only a cold, indifferent night with strangers in their cars just going about.

This is the worldview the Coens have been prodding, sometimes for a laugh, sometimes not. I can't fault them, it does seem to be inexplicably cold out there some nights.

They're thinkers first of all, intellectuals, so it stings them more so they try to think up ways of mocking that thinker who is stung by the cold to amuse themselves and pass the night.

So this is what they give us here. A joyless man for no particular reason, who plays decent music that people enjoy or not for no particular reason, who the universe has turned against.

The Coens don't pretend to have any particular answer either of why this is, why the misery. It might have something to do with having lost a friend, something to do with not having learned to be simply grateful for a small thing.

It might have something to do with something he did, the initial beating up in the alley is there to insert this. Sometimes it's just something that happens as random as a cat deciding to step out of the door and the door closing before you can put it back in.

Most of the time it all kind of snowballs together. It's a noir device the beating - cat bundling guilt with chance so we'll end up with a clueless schmuck whose own contribution to the nightmare is inextricable from the mechanics of the world.

The Coens have mastered noir so they trot it here with ease: the more this anti-Dude fails to ease into life the more noir anomaly appears around him.

Of course the whole point is that it's not such a bad setup; people let him crash in their apartment, a friend finds him a paying gig, somehow he ends up on a car to Chicago where he's offered a job.

It's not great either, but somewhere in there is a pretty decent life it could all amount to, provided he settles for less than his dream.

This means here a dream the self is attached to. I saw this after a documentary on backup singers, all of them profoundly troubled for having settled for less, all of them nonetheless happy to be able to do their music.

Still, 'The incredible journey', seen on the Disney poster, may in the end amount to no more than an instinctive drive through miles of wilderness.

The Coens are cold here even for their standards. I wouldn't be surprised to find it was Ethan, the more introverted of the two, ruminating on a meaningless art without his partner.

Is there a way out in the end? Here's the trickiest part, especially for an intelligent mind. You can't just kid yourself with any other happiness like Hollywood has done since Chaplin.

You know it has to be invented to some degree, the point of going on, yet truthful. Nothing here. More music, a reflection. It's the emptiest part of the film as if they didn't know themselves what to construct to put him back on stage.

Visually transcending was never their forte anyway. They merely end up explaining the wonderful noir ambiguity of that first beating. Still they are some of the most dependable craftsmen we have and in the broader Coen cosmos this sketches its own space.

Inside Llewyn Davis is a hard film to quantify. It is very much a Coen Brothers movie, and it is very much its own thing.

I did not know the history of the story. I did not know the story behind the Gaslight club in New York nor did I know of the famous figure who started at the bar back in when the film takes place.

I found out after the film was over. However, not knowing that, I still thought this was an incredible movie.

There are oddly poetic scenes in the film. There is a scene where the main character Llewyn Davis hits a cat with his car.

As he watches the cat limp away into the darkness injured, I felt that it was an interesting image that seemed to mirror Llewyn's life in the film.

Although I was aware of the poetic aspect of the film, I did not feel that they were forced moments. In interviews the Coen Brothers always seem to play dumb.

In an interview for this film the Coen Brothers talked about the cat in the movie, and how they didn't know what to do with the story, so they threw in a cat.

Anybody who has seen a Coen Brothers movie can appreciate that this is far from the truth. Every moment and image seems to be very specifically placed, and that was the case for this movie as well.

You can't judge this movie the same way you would judge every other film this year. It's almost as if the Coen Brothers have their own language that they are speaking, that the audience does not fully understand.

We catch some things, and even with those few moments, I was mesmerized. Sometimes I really notice their style like in their film A Serious Man, and I find myself confused and bored, but this film felt very true to me.

I sympathized with the main character and his struggles, perhaps because I consider myself a creative person as well, so I know how hard it is.

At one point Llewyn says, "I'm just so f-ing tired," this line says a lot more than just I want to sleep. It is something we can all relate to, a feeling of just wanting to give up, and in this way, the story is a universal one, but then again it's the Coen Brothers, so automatically I know some people might not like it, but I loved it.

It's like a gust of wind that never stops. I was altered, disturbed and amused by the clarity of this poets. Aware but never condescending to the audience.

No explanation as to why this story deserved to be told. The answers are private, deeply personal, enlightening and, at times, chillingly transparent.

The face of Oscar Isaac, my God! For me one of the most enthralling discoveries of At times it reminded me of an updated character in an Italian Neo-realistic film, others one of those images from one of Martin Donovan's sessions.

I sat through Inside Llewyn Davis twice in a row. I can't wait to repeat the experience soon again. It's amazing how dazzled one can be by so very little these days.

There's very little here--a struggling unpleasant man who sings his heart out about standard "folk" catastrophes but can't take care of himself as he goes about damaging others, and animals as well.

He's your 50's college roommate who cooks on a hot plate and sings about historic heroic starvations. The in- and-out mythic references are unfocused and a game for undergraduates.

When the Coens go flat it's not even E flat. We're forced to watch this guy's face for an hour or so without a clue to his demons; he's just a jerk, a driven jerk but a jerk nonetheless.

Best part is the recreation of the early 60's in cars, atmospheres, but then John Goodman shows up from "Where art thou?

Sorry, but the early folk scene wasn't this creepy and Bob Dylan didn't rescue it from oblivion or creepiness. Without a political or sexual agenda it got you chicks it did flounder, but it needed an audience for shifting values and social awareness.

One's suffering couldn't just be for one's art, but had to have a social dimension that this guy can't see.

A genius before his time? Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk.

This might be the ethos of the Coens and their films themselves--within society but not of it. Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important.

There's a certain clown show aspect to their films, which creates their charm and fun but little else. Turfseer 17 January The problem with the Coen Brothers is that in every one of their movies, they're looking through a glass half empty and never half full.

Oh yes, you'll find the usual excellent cinematography, casting, acting, direction and neat recreation of bygone eras.

But what you'll never find is sympathy for your protagonist. The Coen Brothers always pride themselves on standing above the fray and looking down on their anti-heroes.

In essence, what they're saying is, 'we're good at exposing the underbelly of the dark side of Americana; applaud us. People so clueless, so narcissistic, that they never listen to feedback from anyone else, so that they never change.

It's a rare individual who is so misanthropic, like the Coens' Llewyn, that you will ever run into him, in real life. But even if there is such a character, does he really deserve to be immortalized in film?

I hardly think so. The Coen brothers had no problem in admitting that 'Inside Llewyn Davis' has little plot. More important is the fact that the story is devoid of a concrete antagonist.

The only antagonist is Llewyn's internal demon— which takes the form of myopia, cluelessness, and narcissism.

The demon never emerges into Llewyn's consciousness, so that perhaps he can reflect upon where he is going wrong. Instead, we're asked to sit through a minute chronicle of an unlikeable mediocrity, who pursues a wrong-headed quest for fame and fortune in the folk music world of the early 60s.

Llewyn Davis is much more caricature than a real human being. The Coen brothers go out of their way to show just how much of a loser this guy is.

Are there really people like this? And unfortunately, sad sacks never make for good drama. What the film does have is lots of atmosphere.

There are some neat cinematic scenes, notably the one involving John Goodman as a sleazy, heroin-addicted jazz musician, who is a passenger along with Llewyn, on that trip to Chicago.

Rather than consulting all the positive reviews from 'professional' critics on Metacritic, you'll find some much more honest and insightful reviews in the review section of IMDb.

There, at least, is a sense that Llewyn Davis is not a believable character and if by chance, such misanthropes truly exist in real life, their journeys are certainly not worth being looked at, given the lack of change or growth.

If you like a straw man, Llewyn Davis is for you. The Coen brothers are experts at shooting straw men down--but such a maneuver should never bring praise and accolades; that's reserved only for the gullible!

So, yes, there will be extensive spoilers. After seeing this, I wonder if the Coen's have been hanging out with Woody Allen.

But, that's the only reason. Right from the outset, Llewyn Davis, the folk singer main character, is shown to be self destructive and depressed.

We wonder why this is as the movie goes on. We do learn a key reason why that is, the sudden suicide of his singing partner.

And, we can sympathize with that to an extent. But, apart from that, Davis gives us no reason to care any further.

He does have to deal with a hyper angry girlfriend, who is only able to yell the same line at Davis again and again. We are given little bits of hope for Davis here and there.

Mainly in how he takes care of a cat that got out of an apartment where Davis was crashing. Davis loses the cat, and finds who he thinks is the right cat, but isn't.

When he returns to the apartment with the wrong cat to where the original cat lived, we get one hilarious joke that had me really laughing.

Davis leaves with that cat who wasn't the apartment dweller's. But, that seemed to be a turning point in the movie, as the quirky, funny moments that came before stopped.

From there, it got more and more dark and depressing. It's as if we are being made fun of for actually caring about Davis this whole time.

We are shown that he really doesn't care about anyone but himself. So, why should we care? The end wraps this up, where Davis is playing on a night when the New York Times is in attendance.

Davis performs passionately, for what seems like the first time. But, as it turns out, Bob Dylan follows Davis, on the historic night when Dylan received a positive review from the Times.

So, we are led to believe that Dylan is the one discovered, while Davis is again left out in the cold.

I don't know if this film is supposed to be challenging somehow, or if it is just purposely depressing. My guess is that it is supposed to be depressing.

I don't think that the Coen's really care about their audience in this circumstance. It is only that I saw the movie at a free preview that I'm not more agitated.

As for the rest of the movie, the music is good, but fairly low key. But, the music isn't as memorable. The cinematography in many recent Coen films has been by the great Roger Deakins.

Here, it is by Bruno Delbonnel. It has heavily desaturated color, and is pretty diffused. So, it isn't at all attractive.