Hail, Caesar!

The Coen Brothers are heroes of mine. They travel from universe to universe remaining true to themselves. Hail, Caesar should have been , I thought, a familiar universe for them but they seem lost. A journey without a clear destination. There are, of course, a few pleasures along the road. The scene between Alden Ehrenreich and Ralph Finnes is a gem. Alden Ehrenreich is a breath of fresh air with vintage breezes that are exciting, compelling and totally disarming. The tap dance routine with Channing Tatum is also a lot of fun even if I can't quite get Channing Tatum. Great body and he can dance but he seems to be somewhere else. Impossible to connect on the screen with him. I hear he gets millions of dollars per movie so maybe it's just me. The opposite of George Clooney who launches himself body and soul to every moment he has on the screen. I will shut up now and wait for the next Coen Brothers movie.

Caught this at a screening the other night, and wasn't very impressed. The laughs are infrequent, and it's downright boring in stretches. It does have its moments, though: My favorite was Brolin trying to get reassurance from an array of religious leaders that his new biblical epic won't offend anyone. And Ehrenreich, who I'd never heard of, was great as the clueless but sincere rodeo expert who has somehow fallen into serious act-ting... much to Ralph Fiennes' chagrin. Who knew a line like "if only it were so simple?" could generate such hilarity? Such moments are few and far between, though.

Overall, this is a C+ flick - I think it's getting over-rated by critics just cuz of the Coens' name. It's one of their weaker efforts.

I was very surprised how quickly "Hail, Caesar" was in and out of the theaters...but now after seeing the film, I can completely understand why. It was as if the Coen Brothers simply said "let's do a film for ourselves...who cares whether or not the public enjoys it or not!". I appreciated it myself...but I am also not the average film-goer. As for the average viewer, the film makes allusions to many events in the history of Hollywood...but if you aren't aware of these events or rumors, you'll not understand or appreciate much of the film.

The story is based SLIGHT on the life of Eddie Mannix--a motion picture exec who was known as a 'fixer'--a guy who knew how to make bad problems do away...and with the bad behavior of many of the stars, this was an exhausting job. The story seems to be just a slice out of Eddie's life--possibly not the worst time as a fixer but a busy one. Through the course of the film, several problems arise--such as a pregnant single starlet and an actor of dabbles in communism. In each case, Mannix has to get to work to be sure the public never knows...and you see how exhausting this job is.

If you are looking for big laughs, you won't see them. There are a few small ones...just a few. Instead, it's more like a time machine trip to the early 1950s and you are that fly on the wall watching these Hollywood types as they go about their lives and doing stupid things. I do NOT strongly recommend the film but only mildly...and only if you are a real fan of the films of yesteryear AND are aware of the misbehaviors of some of our stars...or alleged misbehaviors.

Sure, a lot of people hate this movie, and I get it, it isn't for everyone. Your enjoyment of the film solely depends on your sense of humor, expectations, and background knowledge of Hollywood films of this era.

I had read into this film a bit before I saw it, and therefore my expectations were pretty much surpassed. I already knew that there wasn't going to be much plot and that a lot of the big name actors and actresses in the film were in it very little. But, no matter how negative some of the criticism I heard, I still eagerly wanted to see it. And I did see it, and I loved it!

One of the main reasons why I enjoyed it so much was because of my previous information of classic filmmaking. I knew plenty about classic epic, musical, and western cinema, and there's plenty of nods to various filmmaking techniques of that era that I noticed. A lot of this film kind of feels like it was made back in the 50s, so I have to give credit to the Coen brothers for that.

My biggest complaint was how little screen time various actors got. Many of the people who were top billed are barely in the film at all. I mean, Jonah Hill is literally on the POSTER and yet he was in the film for hardly even a minute! Couldn't his part have been a bit longer? Or maybe he simply shouldn't have been on the movie's poster! Other actors/actresses were in it disappointingly little to, such as Scarlett Johansson, Ralph Fiennes, Channing Tatum, etc. However short their appearances may be, all of the performances are extraordinarily well done, which is why I wanted to see more of these actors in the first place!

Other flaws I found were rather minor. Certain gags went on a little too long, although pretty much all of the gags worked very well for a remainder of their existence. There also isn't much of a plot for a lot of the film. While there is SOMETHING resembling a plot, there was very little of it. Of course, normally in a film (unless it is experimental or a documentary), I like a bit of plot and conflict, and in "Hail, Caesar!" there wasn't as much of it as the trailer may want you to believe. But, the film didn't really need much of a plot to keep me hooked and entertained.

There certainly were more positives than negatives from my point of view. When a gag in the film worked, it worked extremely well. And the entire film is shot beautifully as well!

There's plenty of entertainment value to be had. There's a bit of comedy, mystery, music, and even some elements of drama. I enjoyed "Hail, Caesar!" quite a bit, and look forward to seeing it once again in the near future! While there are a few problems, all the positives make up for them really well! This is a great satire that I'd recommend to people who really appreciate older films, have a somewhat dark sense of humor, and don't mind a film with very little plot

HAIL CAESAR! ("A Story of the Christ", as we are told in the title card) is one of those offbeat gems that I have no doubt grows in affection with repeated viewings. Folks here complain that it's not a laugh-a-minute farce, that it's not this, that it's not that...

Here's what it *is*: the film version of RADIO DAYS.

Just like Allen made a loving pastiche of radio at its height in the 1940s, so have the Coens done for film at the tail end of its Silver Screen era, when studios manipulated its contract players and worked the media to prevent the "unfortunate" aspects from being revealed to an audience that just wanted escapism fantasy. Josh Brolin is the tightly-wound studio "head of physical production", an enforcer who's being seduced by a potential job with Lockheed to oversee work on the atom bomb. Before he can come to a decision about whether or not take it, he has to deal with the sudden disappearance of the slightly disconnected-from-reality George Clooney (who looks like he's having a blast in this, especially in the final scene of his big budget sword-and-sandel Jesus epic). Along the way, we see the Coens' take on Esther Williams, Carmen Miranda, Gene Kelly, and a host of other stars from the era...

... and this is what makes the film so damn much fun. It's not about the story, it's about how the Coens are celebrating the films we have perhaps idealized a bit too much: Esther Williams' underwater ballets and Gene Kelly in NYC for 24 hours and Gary Cooper trying to play it in a toney, high-class period drama. There are so many references to the great films of the day that if you blink, you'll miss a few — they follow fast and furious and sometimes with little more than a sly wink. If you are an old time movie buff, you will love this film to tiny little bits. If not... well, you probably wont enjoy it all that much.

But then the Coens probably didn't make it for you, did they...