By Nick Anstett
Opinion Editor
There are few contemporary directors that better dig into the American psyche than the sibling pair of Joel and Ethan Cohen. Whether it’s through their unique sense of regional identity, strong visual style, or off the cuff brand of humor, the Cohen brothers have crafted some of the most influential and cult creating movies of the last three decades. The release of a new installment into their growing filmography is in and of itself an event, and while “Hail Caesar!” may not be their strongest creation, it is undeniably a work of craft and witty entertainment.
Eddie Mannix (Josh Brolin) is a Hollywood studio “fixer.” When things go wrong ranging from missing actors to a public image crises, all eyes turn to him. He’s good at his job, even if things do grow out of hand at times. When the star of the year’s biggest production Baird Whitlock (George Clooney) is apparently kidnapped, Mannix’s grasp on the studio begins to fall apart.
There is a certain fidelity and loving tribute to the history of film in “Hail Caesar!” that is present even from the film’s opening frames. The Cohen brothers have crafted a tribute to 1940’s-1950’s Hollywood in a manner that both acts as a celebration of a bygone era of movie production and a smart satire of its eccentricities and those at its center. Whether it’s through lengthy recreations of Spaghetti Westerns or a surprisingly well choreographed Channing Tatum starring dance number, “Hail Caesar!” almost behaves like a variety show trip through a more manic realization of Hollywood’s past.
If there is anything that “Hail Caesar!” accomplishes in spades, it is a willingness and ability to entertain. The duo’s ability to impress with believable and unexpected dialogue choices make for some of the film’s standout moments. Whether it’s through an actor and director sparring over lines or through a multi-denominational debate about the nature of the crucifixion, “Hail Caesar!” often seems most at home when it allows its characters to spar with one another and the results are frequently hilarious. “Hail Caesar!” also sees a greater grasp on visual comedy and eccentricity than the duo has accomplished in the past, even rivaling some of their work in cult classics like “The Big Lebowski.”
What is going to be “Hail Caesar’s” biggest selling point to viewers will likely be its star studded ensemble cast, and, in many ways, it is how the film ultimately lives and dies. When your film stars Brolin, Clooney, Tatum, Jonah Hill, Tilda Swinton, Ralph Fiennes, Frances McDormand, and Scarlett Johansson, it’s hard to blame audiences for wanting to see the jaw dropping star power put on display. In a way, it is ultimately symbolic of the film’s greatest failing, which is a lack of focus. While one could easily argue that the script’s matter-of-fact and haphazard construction is meant to mimic the chaos of studio life, many scenes and characters feel extraneous to both plot and theme. If the results were not so consistently well-acted, visually interesting, and wildly entertaining, “Hail Caesar!” would approach being something of a mess.
Despite the star studded cast, its center is relative newcomer Alden Ehrenreich that comes across as the film’s biggest selling point. Ehrenreich’s Hobie Doyle, a western actor thrust into a world woe-fully out of his element, makes for much of the film’s heart but also steals what are easily some of its best moments. It’s a performance that makes almost every scene he is a part of a joy to watch.
“Hail Caesar!” is by no means one of the better films of the Cohen brother’s impressive filmography, nor is it likely to be remembered by most by the conclusion of the year. What it is though, is a consistently grin inducing tribute and also satire of Hollywood’s past in a way that only the figures at its creative center could have produced.
Score: B+