Hail Caesar! follows a day in the life of Eddie Mannix, a Hollywood fixer for Capitol Pictures in the 1950s, who cleans up and solves problems for big names and stars in the industry. But when studio star Baird Whitlock disappears, Mannix has to deal with more than just the fix.
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It's a satire and it's a glorious tribute to mid-century Hollywood - the musicals (great choreography and synchronized swimming!), the Philip Marlowe/Noir, the westerns and the epics. And it's a Coen Bros. comedy. The all-star cast delivers plenty of yucks, but it is Alden Ehrenreich who carries the show. 3.6 stars.
A footstomping Technicolor satire poking a razor-sharp stick at Hollywood's soft belly, featuring a cavalcade of today's stars indulging their wildest Busby Berkeley / Cecil B. DeMille fantasies... is what this *could* have been, were it not for the odd sensation that all involved gave up trying half way through. Some fantastic moments, but both script and editing ultimately let it down. Would that it were so simple.
Middle of the road Coen brothers, IMO, but that still means a good measure ahead of other filmmakers. The interaction between Ehrenreich and Fiennes shined through as the funniest/best parts of the film.
Although its great musical scenes (the bar one and the swimming one are trully vintage), Hail Caesar lacks punch. It is very funny sometimes, with all the stereotypes parading through the screen, but it seems lost on its message. Criticizing Hollywood, this one is more like a Hollywood hit than a true statement.
Whilst some sequences are a wonderful homage alluding to Studio System era and Hollywood's behind-the-scenes production processes, it lacks the acerbic edge of the Coens' previous screwball comedies, despite its post-modern acumen and attempts to deconstruct political agendas of the times. Quite the all-star ensemble, and an enjoyable cinematic experience all the same. Neither a classic nor a dud. 2.5
Who am I to begrudge these guys their sweetly goofy ode to the movies? Good-naturedly satirical, with one of my favourite Commies-in-Hollywood sub-plots, and a couple of brilliantly-choreographed musical numbers. Plenty of tongue-in-cheek silliness, all Coen enough to not annoy. A fun flick.
Huge disappointment. It had all the ingredients for a really hilarious subversive screwball, but it fell so short. It never goes deep enough in its ideas, remaining simply a superficial (yet affectionate) homage to Hollywood's Golden Era.
The Coens have often been guilty of overindulgence and this latest entry is certainly guilty on that count. For a film fan there is a lot to enjoy here but the often haphazard and swiftly abandoned moments take away from the overall experience. Best in show is the turn by Alden Ehrenreich and the gorgeous cinematography by Roger Deakins though praise should be given to Josh Brolin for his most focused turn in awhile.