The Ballad of Buster Scruggs

Great. It seems to me, according to the feedback from the world and the database here, that the Coens have been making films mostly for themselves and me in recent years. But why would I mind that? Every short story was something different, and each was great. There was typical humor in unpredictable situations as well as melancholy thinking about people and about life, and I certainly don't agree that the short stories didn't have points, because they did. Just maybe they weren't as evident and literal as people would have liked. Yes, I thought that the gold-digger story with Tom Waits would be the last and that it would be a beautiful ending, but then, after it ended, the next one started and then came the last one (typical Coen anecdote), and I certainly didn't mind. (2018-12-10)

Buster Scruggs had a good line of sight, but the Coen’s were sprinkling targets with very variable success. Most of the bullets ended up in the prairie. A disparate, unbalanced anthology that is meant to recall the romantic charm of westerns and the West, which has never been. Instead, it reminds us that the Coen’s are no longer masters of tonal equilibristics, eccentric dialogues and brilliant points. This film plays more on sentiment rather than skillfully creating it. Some short stories (trunk, gold digger) are downright awful and out of rhythm. Even though the moods change here, the overall impression is insanely monotonous, also because the Coen’s only vary safely. In the end, I remember with love the demented version of Lemonade Joe, the hangman blues of James Franco and the dog ballad... the rest is not even worth a spit into the dust. (2018-11-25)

The Ballad of Buster Scruggs starts with an intriguing and original storytelling style, with Tim Blake Nelson taking center stage with his singing. The sequences in the dingy bar and at the card table are genuinely funny, and the ending of the story didn't disappoint. 82% Near Algodones features a character who always seems to narrowly escape certain death. The execution was surprising, as I expected some external intervention and rescue, but what else to expect from the Coens' dark humor, right? 82% Meal Ticket had immense potential, which unfortunately wasn’t fully realized. The ending is sad, but I expected Neeson wouldn't come out of it unscathed. 63% All Gold Canyon is probably the second-best contribution to the film. The impressive shots of the stunning landscape are complemented by Tom Waits' excellent, understated performance. The ending was initially frightening, but the 180° twist was a must. Justice exists! 88% The Gal Who Got Rattled is simply outstanding. Although it’s the longest segment, its conclusion completely blew me away. The shot of Mr. Arthur with President Pierce on the hill is almost poetic. This is how I remember the Coens! 90% The Mortal Remains had an ending I didn't quite grasp, but the transition from a comfortable journey to one with no return was quite impactful. 75% In summary, the film was successful. If it had maintained the quality of the fourth and fifth segments, I would have had no complaints. Still, it was a compelling return of this directing duo. Overall, 80%. (2019-01-14)

I had to strain to think back to a time when the Coen brothers last spoke to me so strongly, and the best I could do was No Country for Old Men. Even the related genre film True Grit was not as complex and did not cover as many subgenres as this one does. I am most grateful that from the very beginning this was a film and not a series, as originally rumored in the media, before the creators themselves shut down such rumors. This is exactly how, in seemingly unrelated stories bound by death, two hours, and a formal reading from a book, it clearly resonates how cruel, hopeless, and infinitely romantic life in the Wild West must have been. (2019-10-24)

Very weak Coens, hopefully they pick the weaker moment for the future. The stories are completely without a twist, there is only the adorable finger-shooting in the first one, the beautiful scenery in the one with the charismatic vagabond Watts, and here and there a typical Coen joke, but there are so few of them that they could be counted on the fingers of one hand of a sawmill worker. What I admire most about the Coens is the biting, caustic, ironic humour, which here is almost non-existent. Then the fifth and longest story is almost unbearable, it doesn't go anywhere, it's just such a cry into the wind and I have to repeat it again, without a single twist. (2018-12-29)