The premise of the original Ladykillers, the 1955 British film, was a clever one, but it had been made into such and ungodly dull and awkward film that it was practically begging to be re-envisioned. In an age where it seems like Hollywood is producing nothing but remakes, this one was handed, for once, to a pair who could really do it justice.
Joel and Ethan Cohen, the writer-director pair who have made several masterpieces over the past twenty years, have produced a film that at least looks and feels commercially viable. It has humor, characters and visuals that everyone can appreciate. It moves at a steady pace, the snappy dialog carried swiftly along by an outstanding soundtrack, and is aided in no small part by Dennis Gassner's excellent production design, and by Roger Deakons' gorgeous and vivid camera-work.
The sensibility that the Cohen Brothers bring to each of their films is definitely a unique one. Below the humor on the surface, there is something more sinister (and infinitely more humorous) at work. Take for instance the character of Marva Munson (Irma P. Hall), a nice old black lady, a widow with a cat, and her husband's portrait above the mantle. She writes a check every month to a nice bible school named Bob Jones University, a university that has a history of discrimination against blacks. Or take the 'fine colored by' Gawain (Marlon Wayans) who doesn't know anything about the Freedom Riders and, when annoyed by a veteran of the civil rights movement, says 'just tell me when they gonna leave!' Garth Pancake (J.K. Simmons) reminds him that it was so people like him could vote, Gawain says he doesn't vote and tells him to where to stick it.
By the way, the casino where Gawain works (the target for our 'merry band of miscreants') is staffed entirely by black workers, who are apparently cheaper to hire in the south than whites. When Gawain is laid off, he threatens to sue for punitive damages. His white boss reminds him that 'everyone on the custodial staff is black. Your replacement is gonna be black. His replacement not doubt will be BLACK!'
Rather than just accepting this as the norm, the Cohens find humor and intrigue in these situations, and the astute viewer will notice this. Looking past the surface of this movie, which one might call 'zany' or 'farcical', there's some interesting social comment being made about the US and the south.
As for the other components of the movie, they are all well assembled. Tom Hanks is great as Professor Dorr. Perfect (off-type) casting has lead to one of the best performances of the year. Hanks is having great fun with this role. The other parts are played just as well. Simmons is great as the self-assured, self-righteous Mr. Pancake, Ryan Hurst is adorable as the thick-headed Lump, and Tsi Ma makes a memorable impression as the silent General. Marlon Wayans is kept in check for once, and demonstrates that he can be tolerated, and actually be very funny, when directed by somebody other than himself or his brothers. As for Irma Hall, she fits her role like a glove. Also very memorable is Stephen Root as the casino boss. The photography is particularly gorgeous and inventive for a comedy; you can never go wrong with Roger Deakins. Despite not being the best film the Cohen brothers have done, this is an excellent and very interesting comedy that I recommend highly.
Joel and Ethan Cohen, the writer-director pair who have made several masterpieces over the past twenty years, have produced a film that at least looks and feels commercially viable. It has humor, characters and visuals that everyone can appreciate. It moves at a steady pace, the snappy dialog carried swiftly along by an outstanding soundtrack, and is aided in no small part by Dennis Gassner's excellent production design, and by Roger Deakons' gorgeous and vivid camera-work.
The sensibility that the Cohen Brothers bring to each of their films is definitely a unique one. Below the humor on the surface, there is something more sinister (and infinitely more humorous) at work. Take for instance the character of Marva Munson (Irma P. Hall), a nice old black lady, a widow with a cat, and her husband's portrait above the mantle. She writes a check every month to a nice bible school named Bob Jones University, a university that has a history of discrimination against blacks. Or take the 'fine colored by' Gawain (Marlon Wayans) who doesn't know anything about the Freedom Riders and, when annoyed by a veteran of the civil rights movement, says 'just tell me when they gonna leave!' Garth Pancake (J.K. Simmons) reminds him that it was so people like him could vote, Gawain says he doesn't vote and tells him to where to stick it.
By the way, the casino where Gawain works (the target for our 'merry band of miscreants') is staffed entirely by black workers, who are apparently cheaper to hire in the south than whites. When Gawain is laid off, he threatens to sue for punitive damages. His white boss reminds him that 'everyone on the custodial staff is black. Your replacement is gonna be black. His replacement not doubt will be BLACK!'
Rather than just accepting this as the norm, the Cohens find humor and intrigue in these situations, and the astute viewer will notice this. Looking past the surface of this movie, which one might call 'zany' or 'farcical', there's some interesting social comment being made about the US and the south.
As for the other components of the movie, they are all well assembled. Tom Hanks is great as Professor Dorr. Perfect (off-type) casting has lead to one of the best performances of the year. Hanks is having great fun with this role. The other parts are played just as well. Simmons is great as the self-assured, self-righteous Mr. Pancake, Ryan Hurst is adorable as the thick-headed Lump, and Tsi Ma makes a memorable impression as the silent General. Marlon Wayans is kept in check for once, and demonstrates that he can be tolerated, and actually be very funny, when directed by somebody other than himself or his brothers. As for Irma Hall, she fits her role like a glove. Also very memorable is Stephen Root as the casino boss. The photography is particularly gorgeous and inventive for a comedy; you can never go wrong with Roger Deakins. Despite not being the best film the Cohen brothers have done, this is an excellent and very interesting comedy that I recommend highly.