When I first saw True Grit not long after its release, I didn't quite understand it. Here was a film that seemed to be a straightforward revenge tale, but with an ending that, at the time, seemed a bit of a downer. However, I have now revisited the film, and have done so with a far better knowledge of the style that the Coen Brothers have carefully cultivated, and now I can say that I have come to an understanding with the film, and in doing so, have found yet another excellent western

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Often cited as the nadir of the Coen Brothers filmography, in many ways, while The Ladykillers is far from some world changing film, and obviously a rather slight entry in their filmography, it still, to me at least, amounts to a very funny and entertaining film, and probably the closest the Coens have come to being completely "mainstream".

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Okay, I'll admit it right off the bat. This film is, very much, an example of "minor" Coen Brothers. The story for the film was actually devised by Robert Ramsey and Matthew Stone (no, not that Matt Stone), and was shopped around for several years to directors such as Jonatham Demme and Ron Howard, before the Coen Brothers themselves finally picked up the project, and wrote the last draft of the screenplay. So, in that way, it's true that this film is perhaps the closest they've gotten for

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The Coen Brothers, eclectic as always, take on film noir in this hyper subdued, intentionally self serious yet absurd deconstruction of the film noir genre, where, in playing the standard tropes and motifs of the genre dead straight, stretching them to the point where they snap back on themselves. It's a dense, cerebral film, and one that, while lacking the gonzo charms of, say, O Brother, Where Art Thou? or The Hudsucker Proxy, still manages to be a fascinating work of art, and a

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Oh my god.

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Black Dynamite, despite all appearances, isn't a long lost blaxploitation film, but rather a deliberately retro send-up/love letter to the genre, and, while it's obvious in every frame that the cast and crew love blaxploitation with a passion, it doesn't quite hold together as well as it could have, though, to be honest, that may be the point.

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A surprisingly upbeat and chipper film, yet still carrying their trademark biting satire, the Coen Brother's fifth feature was, and still is, a bit of a black sheep in their filmography. Instead of a brooding neo-noir like Miller's Crossing and Blood Simple, or the strange fever dream surrealism of Barton Fink, The Hudsucker Proxy instead takes its cues from the wild screwball zaniness of Raising Arizona, but instead of the quirky outback of Arizona, the

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American director/screenwriter Paul Schrader's groundbreaking and immaculate Japanese language biopic of controversial Japanese writer Yukio Mishima not only manages to be an amazing portrait of an artist and his beliefs, but also an utterly fascinating and enrapturing artistic work of its own.

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After winning the best actress Oscar for “Room,” Brie Larson has her sights on another marvelous role.

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I have no damn clue at all what the hell I just watched, but it was something really incredibly, wonderfully, disturbingly bizarre.

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