Hail, Caesar!

2016

Comedy / Mystery

75
Rotten Tomatoes Critics - Certified Fresh 85%
Rotten Tomatoes Audience - Spilled 47%
IMDb Rating 6.3 10 94041

Synopsis


Uploaded By: FREEMAN
Downloaded 60,592 times
May 25, 2016 at 04:40 PM

Director

Cast

Scarlett Johansson as DeeAnna Moran
Emily Beecham as Dierdre
Channing Tatum as Burt Gurney
Tilda Swinton as Thora Thacker / Thessaly Thacker
720p 1080p
778.21 MB
1280*720
English
PG-13
23.976 fps
1hr 46 min
P/S 6 / 56
1.61 GB
1920*1080
English
PG-13
23.976 fps
1hr 46 min
P/S 8 / 44

Movie Reviews

Reviewed by marcosaguado 6 / 10

Undercooked but tasty

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.

Reviewed by A_Different_Drummer 3 / 10

People were quietly leaving the theatre

Listen closely. We don't have much time because the film snobs will start banging the NOT USEFUL button and this review will disappear into the IMDb ether.

This film almost makes you wonder if the Coen Bros are caught in some sort of Star Trek time paradox and are doing their films backwards. If they had started with this film 32 years ago, the critics would say there were some clever set-pieces and the cinematography was superb but the concept should never have been greenlighted and the script was wretched. From such humble beginnings, in 2016, the Coen Bros would then be able to deliver BLOOD SIMPLE and probably win multiple Oscars for their "growth" as film makers.

But in real time, 32 years after Blood Simple, this film is so bad that people were voting with their feet and leaving the theatre at the 1:00 mark (approximately). The story is awful, the dialog is awful, and the voice-over is bad enough to be used as a "persuasion device" at Gitmo.

George Clooney should get a new agent because there is not enough money on the planet to compensate him for having to wear a costume that makes him look fat and bloated and 20 years older than he actually is. Only Channing Tatum rescues his own dignity in a tribute to Gene Kelly that actually is entertaining and engaging.

The is an awful film. I have never lied to you before and I am not going to start now.

^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^

Addendum 2-26: Frankly when I penned the above review right after leaving the theatre, I was not expecting to get involved in a controversy about how flexible the Coen Brothers were "cross-genres," or how clever and eclectic their fans need to be to appreciate the wonderfulness of this specific work. But since the controversy exists, I will add that generally the Coens have produced some of best films I have seen in my lifetime. Inside Llewyn Davis, for example, held my attention like glue, it was a polished gem. Most of their films are polished gems. Unfortunately this is not one of them. If you Google, you will find that, in spite of the sycophantic mainstream critics, this film has generated the Coens' worst box-office numbers ever. And that was the point I was trying to make. Viewers instinctively know the difference between a hit and miss. It's their job -- enjoying films is why they left home, endured the traffic, and found a parking spot in the first place. The actors here try hard, I agree, but the story and the script simply do not connect or resonate or form any empathic bond. The horror is that the "brothers" really should have known better.

Reviewed by Steve Pulaski 4 / 10

Satire that lacks energy, conviction, characters, character development, a focus, and nearly everything that makes good satire

After the phenomenal and emotional roller-coaster of "Inside Llewyn Davis," a film that still hasn't found the audience it so desperately deserves, Joel and Ethan Coen followup arguably their best film with one that might be their most forgettable. "Hail, Caesar!" is a disappointment of epic proportions; an empty, unfocused satire on Hollywood business that has too many characters fighting for too little screen time, almost no energy despite attempting to work with a high-stakes plot, no strong character relationships despite the fact that everyone is trying to get a word in at all times during the course of the film, and finally, no central conflict that results in the characters ostensibly mustering up any kind of energy. If the characters themselves barely care about the situations they're in, why should we, the audience, who is now out of the high cost of a movie ticket?

The film revolves around a Hollywood mogul Eddie Mannix (Josh Brolin), who is hired to help fix the troubled production of a Hollywood epic known as "Hail, Caesar!." The film stars the famous Baird Whitlock (George Clooney), who winds up being drugged on-set and kidnapped by a radical group of communists that call themselves "The Future." Mannix is tasked with giving the group $100,000 in exchange for his star actor.

The Coen brothers spend much of the film hopscotching from different characters and different sets in what feels like a setup for a mini-series rather than a one-hundred minute film. Such characters are Laurence Laurentz (Ralph Fiennes), a very meticulous director, Thora and Thessaly Tacker (both played by Tilda Swinton), rival, twin-sister gossip columnists, Hobie Doyle (Alden Ehrenreich), a low-rent Western actor-turned-movie-star, who is one of Mannix's closest clients, DeeAnna Moran (Scarlett Johansson), an actress who becomes pregnant out of wedlock in the middle of her film, and Burt Gurney (Channing Tatum), a Gene Kelly-type actor, also working under the order of Mannix, who winds up at the center of the film's outstanding dance sequence between a group of Coast Guard members about to embark on a nautical mission that will prevent them from seeing a dame for months.

"Hail, Caesar!" is a film of moments, meaning that, once the film is over, you'll remember certain scenes you enjoyed, certain actors' cameos (which most of the aforementioned are) you appreciated, and if you're lucky, lines you can quote verbatim. At the end of the day, the sporadic humor that those little moments provide is not enough to recommend a film. The Coen brothers don't seem to know what direction they want to take this film, and with such a concise runtime, they have no time to make good use of the actors they probably paid quite a bit to show up on set for one day. This gives the film the look and feel that most of these A-list stars are simply fighting over screen time, and that isn't funny, especially when you have true talent being only momentarily showcased so the film can dart off to the next decorated setpiece.

Then there's the issue of the film just not having much life to it outside of immaculate costume design and some strong cinematography (done by Roger Deakins, one of Hollywood's most masterful cinematographers working today). Because the actors aren't given characters to work with, no real energy or interest builds for them, and neither do character relationships. What we were supposed to gain from the scene involving Jonah Hill (who is on-screen for maybe a minute and a half) and Scarlet Johansson where Johansson's DeAnna asks Hill's Joseph if pressing down on the machine that stamps the papers hurts his forearm? Was this sort of flirtation so necessary that it needed to be included, or were the Coen's too busy giggling under their breath to notice?

"Hail, Caesar!" is overpopulated with scenes that don't work to further what little plot is here, and with such a high-stakes story about a lead actor being kidnapped by a band of communists, Clooney's Braid Whitlock doesn't seem too phased, Brolin's Mannix, who has never been a particularly strong actor to show real emotion or gusto in his personals, doesn't seem too concerned, so what is there left for us to care about?

Some comparison has been made between both "Hail, Caesar!" and Wes Anderson's "The Grand Budapest Hotel," and while the two have a similar approach to dry wit and deadpan humor, as well as similar actors like Fiennes and Swinton, Anderson's picture was a perfect example of copious energy and exhilarating, rapid-fire comic exchanges. "Hail, Caesar!" is the exact opposite; a frequently dull and almost entirely uninteresting film, predicated upon the strength of a few great scenes and some decent, albeit far, far too short, performances in a thoroughly muddled picture.

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