Every Coen Brothers Movie, Ranked From Worst to Best. Joel and Ethan Coen’s new film, Hail, Caesar!, finally opened this week, propelled by many of the hallmarks of their filmography: Comically dim characters engaging in a variety of conspiracies and double- crosses against the background of a meticulously re- created and reimagined world (in this case, Hollywood in the 1. Funny thing about the Coens: They are two of the most original filmmakers American cinema has given us, and yet they consistently stress the same motifs and themes throughout their works. Locked Up Season 2 English Subtitles on this page. Every Coen Brothers movie is distinctive in its own right — you’d never mistake one for another — and yet they constantly traffic in the same story elements, characters, and situations. So much so that, way back in 2. Coen Brothers movie.

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In other words, there’s a through- line that connects Nicolas Cage’s ex- con in Raising Arizona and William H. Macy’s car dealer in Fargo and Josh Brolin’s Vietnam vet in No Country for Old Men, just as there’s one that connects John Turturro’s crusading playwright in Barton Fink and Michael Stuhlbarg’s upright science prof in A Serious Man and Oscar Isaac’s bitter folkie in Inside Llewyn Davis. Over the years, even as they’ve collected awards and admirers, the Coens have also been taken to task for the remove at which they hold their characters. But such a criticism ignores the sheer love they clearly also have for these figures.

Yes, it’d be easy to see the Coens’ portrayals of these idealists and dim dreamers as mockery. But then, why do these characters resonate so? Because of these similarities and differences, judging individual movies in the context of the Coens’ whole body of work can be tricky.

Does one really have to choose between Raising Arizona and No Country for Old Men, two movies with very similar elements that are nevertheless tonally so different? And Blood Simple is so momentous; it put them on the map and introduced many of their favorite themes.

Should it matter that many of their later films worked those themes in a more engaging fashion? Watch Adventureland Online Full Movie there. It’s also hard, frankly, because so many of these movies are so good; there’s probably only one film on this list that I never, ever want to watch again; and there are probably seven or eight titles that I have at one point or another described as masterpieces. A weak Coen Brothers film is still probably better and may well endure longer than half the movies that will be winning Oscars in a couple of weeks. Nevertheless, here they are: The Coen Brothers’ films, ranked. And, you know, feel free to rearrange in our reader re- ranking below.)1. The Ladykillers (2.

You would think that a Tom Hanks–starring Coen Brothers remake of an Ealing Studios black comedy, about a group of hoodlums trying to kill off the nice old lady from whom they’re renting rooms, would be an easy home run. But what made the Ealing classic work was its odd mix of a genteel comedy of manners with dark, tongue- in- cheek suspense. The Coens can do suspense, but here, their angular, stylized approach to character and humor results in a film that’s not only unconvincing, but also unpleasant. It’s … well, interesting to see the usually affable Hanks play so against type, but it doesn’t really work. A shrill, unfunny mess, this is their only true failure. Burn After Reading(2. Here’s another elaborate, coal- black comedy – and this one’s actually (sometimes) funny.

Here, scheming wife Tilda Swinton, personal trainer Brad Pitt, womanizing lawman George Clooney, and others tussle over the memoirs of low- level CIA guy John Malkovich. It’s a silly, often surprising farce, filled with typically Coen- esque duplicities and conspiracies. And it does have Brad Pitt playing a dumb- shit gym rat, so that’s something.

Joel and Ethan Coen are cinema’s great chroniclers of American stupidity.) But it’s also an example of how, sometimes, snowballing comic hysterics can deplete a film’s energy. A little of this stuff goes a long way, and this one, unlike many of the filmmakers’ other comedies, loses steam as the catastrophes mount. O Brother, Where Art Thou? George Clooney, John Turturro, and Tim Blake Nelson escape from a chain gang and make their way across the South in this relentlessly episodic, gleefully corny epic that’s like a bluegrass- fueled variation on The Odyssey, with occasional nods to Moby- Dick. It was a big hit, and it even helped bring about a brief bluegrass revival. Indeed, T Bone Burnett & Co.’s music is the film’s highlight, and possibly its unifying factor.

• All this week, IndieWire will be rolling out our annual Fall Preview, including the very best indie cinema has to offer, all the awards contenders you need to know.
• A website discussing the films of the Coen Brothers, Joel and Ethan. From Blood Simple to Fargo, and from Raising Arizona to the Big Lebowski. In depth looks at some.

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Individual setpieces shine — especially a Ku Klux Klan rally that turns into a musical number — and Clooney’s turn as a vain ex- con trying to win back his wife announced to the world that, yes, he could be funny in a movie. It has its pleasures, but this is possibly the messiest film in the directors’ body of work. The Hudsucker Proxy (1. The twin spirits of both Frank Capra and Preston Sturges loom over this visually ornate homage to screwball comedies, in which dim- bulb mail- room clerk Tim Robbins (hi, Coen- esque man- child!) is given control of a big- time manufacturing corporation by scheming exec Paul Newman. Alas, it was something of a bust when it first came out. Many were unable to connect with the characters despite the film’s winning humor and fine cast.

True, the story feels a bit overdetermined. But it’s ravishing, and includes one of Jennifer Jason Leigh’s finest performances, doing a dead- on impression of a sassy, fast- talking reporter straight out of Hollywood’s golden age. By the way, ever notice how much smarter the women are than the men in the Coens’ films?)1. Miller’s Crossing (1. Here are the good things about Miller’s Crossing: It’s gorgeous; Carter Burwell’s score is among his best; John Turturro’s performance as a pleading, pathetic, backstabbing bookie is an all- timer; as is Albert Finney’s turn as a Prohibition- era Irish mob boss. But there’s something strangely missing, too: Maybe it’s that Gabriel Byrne’s hero, a two- timing enforcer with a weird idea of loyalty, is at times too passive and poker- faced to keep us engaged.

Or maybe it’s just that the Coens can’t quite keep their intricate plot moving along in a compelling way. To be fair, many Coen fans would rank this among their best, so your mileage may (and will) vary. But this one remains an emotionally inert — albeit beautiful — puzzle. Barton Fink (1. 99.