Hail, Caesar! (2016)


Written, directed and produced by Joel and Ethan

Eddie Mannix, a fixer at a 1950s Hollywood film studio, must contend with a star who’s been kidnapped by communists, another who’s fallen pregnant, and another who can’t act…

Seen before? No.

Best performance: Tilda Swinton plays two roles. Twin sisters Thora and Thessaly Thacker are both journalists, and are based not that loosely on real-life gossip columnists Hedda Hopper and Louella Parsons. The gag is that they always appear in quick succession, confusing whoever they’re trying to get information from, and Swinton’s having fun with the characters’ clipped voices and supreme confidence.

Coen regulars (running total of appearances): George Clooney (4) assays another Coen-brothers idiot. Frances McDormand (8) has a tiny yet comical cameo as an editor. Fred Melamed (2) was also in A Serious Man. Josh Brolin (3), Tilda Swinton (2) and Scarlett Johansson (2) appear again.

Best bit: We see a number of scenes from fictional movies being shot at the studios – a Biblical epic, a Gene Kelly-style musical, an Esther Williams-style swimming film, a Western, a stuffy drawing-room drama… They’re all entertaining in a behind-the-curtain way, with the musical being the best. Burt Gurney (Channing Tatum) is a song-and-dance man who’s playing a sailor in his latest movie. The sequence we see being shot is an elaborately choreographed number called No Dames, which has some dazzling dancing and subversive lyrics.

Review: It’s not awful, but there’s a relentless sense with this film that it’s not as good as it should be. It’s a sketch show rather than a wholly satisfying movie, and like most sketch shows is very hit and miss. The Acorn Antiques-style fictional movies, for example, are tremendous fun, while there are a number of classy and funny performances – not least from Ralph Fiennes, who nearly steals the entire film as uptight-yet-polite English director Laurence Laurentz. But the story is so lightweight and scattergun. Threads seem to get picked up then dropped on a whim, while Scarlett Johansson’s subplot is beyond cursory. The film meanders and never seems to rise above a mildly interesting second gear. There’s also, sadly, a smugness about the proceedings. It’s a funny film, but nowhere near as clever as it thinks it is.

Six Soviet submarines out of 10


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