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The Coen Brothers have done a little bit of everything. They’ve done comedy. They’ve done suspense. They’ve even done a Western. And they’ve been recognized and applauded for it time and time again. But with their latest, Inside Llewyn Davis, they do a little bit of not very much.
Inside Llewyn Davis is the story of a folk singer in 1960s New York. Llewyn Davis (Oscar Isaac) is a talented but aimless young musician who’s struggling to get his solo career off the ground after losing his partner.
Llewyn’s life is an endless blur of low-paying gigs and brainless studio sessions—of crashing on couches while waiting for his big break. And although his straight-laced sister is convinced that he should give it all up and ship out with the Merchant Marine, Llewyn is determined to make something of the artist’s life.
Inside Llewyn Davis is the Seinfeld of award season dramas—a movie about nothing in particular. In fact, it’s one long and rather disheartening cycle, following a character who takes one wrong turn after another, only to end up almost exactly where he begins.
In most cases, films that talk a lot and don’t go much of anywhere tend to be character-driven dramas—but it’s hard to say that Llewyn Davis drives the film (or anything else, for that matter). He’s not exactly a fascinating character. At times, he means well, but that’s about the best you can say about him. He tends to burn bridges wherever he goes, drastically limiting his options for available couches in the process. He takes advantage of people, he insults their friends and sleeps with their girlfriends, and he shows little or no remorse for his mistakes. Despite his attempts to control his own fate, the character doesn’t really grow or change in any way throughout the course of the film—and that can make his slowly meandering journey an uneasy one for audiences.
Fortunately, the film does have a few redeeming qualities. The music, produced by T Bone Burnett, is pretty remarkable. Even if you’re not a big fan of folk music, you’ll be able to appreciate the way that the music sets the tone for the entire film. And there’s just something about Justin Timberlake singing folk songs—or composing a silly ‘60s tune called “Please, Mr. Kennedy” for a session band called the John Glenn Singers—that’s strangely satisfying.
In fact, when it comes to supporting characters, the film hits most of the right notes. Though Carey Mulligan’s Jean is often excessively abrasive, others—especially John Goodman’s outspoken jazz man Roland Turner—often give the film a much-needed boost. They aren’t as outrageously eccentric as some of the Coens’ more memorable characters, but they do help to keep things interesting.
Still, while its intriguing supporting characters and its toe-tapping tunes give it some interest, Inside Llewyn Davis is about as aimless and uncertain as its title character. Without a hearty dose of the iconic directors’ signature quirk, it isn’t exactly easy going.
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