Hail, Caesar! 2016 123movies

Watch: Hail, Caesar! 2016 123movies, Full Movie Online – This movie follows a day in the life of Eddie Mannix (Josh Brolin), a Hollywood fixer for Capitol Pictures in the 1950s, who cleans up and solves problems for big names and stars in the industry. But when studio star Baird Whitlock (George Clooney) disappears, Mannix has to deal with more than just the fix..
Plot: When a Hollywood star mysteriously disappears in the middle of filming, the studio sends their fixer to get him back.
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Ratings:

	6.3/10 Votes: 135,737
	86% | RottenTomatoes
	72/100 | MetaCritic
	N/A Votes: 3399 Popularity: 14.848 | TMDB

Reviews:

I am a fan of the Cohen Brothers, but I will not lay laurels at the feet of a movie simply because it bears their name. _Hail, Caesar!_ is not one of their better efforts.

Unrelated: I also wonder why they felt it necessary to hide the fact that they were making a faith-based film in the trailers.

_Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole._

There’s a scene halfway through the film when Hobie Doyle (Alden Ehrenreich), a Western B-movie star, is cast in a fancy melodrama helmed by Laurence Laurentz (Ralph Fiennes). Doyle is hopelessly out of his element, hobbling about in his new suit–the switch was the studio’s idea in an effort to broaden Doyle’s appeal, much to Laurentz’s dismay. It’s not long before the two engage in a back-and-forth, Laurentz trying to get Doyle to pronounce “Would that it ‘twere so simple”, and Doyle trying desperately to appease Laurentz. After a lengthy exchange, both are left exacerbated. Much later in the film, we catch a glimpse of the final version, where Doyle and Laurentz compromise with a much simpler: “It’s…complicated.”

Complicated is exactly what’s at the heart of this situation. Laurentz’s increasing frustration with this obvious miscast and Doyle’s confusion may serve to fuel the slapstick comedy on exhibit, yet this scene alludes to so much more. It’s the inner mechanics of Hollywood, where directors are mere technicians and actors are props, all to be assigned and managed. It’s the clashing of proud classical Hollywood traditions of entertainment and escapism with the dreaded rise of message films and sophisticated art. It’s the contradictory nature of unfettered creativity with capitalism and consumerism, where compromise–and perhaps communism–seems to be the only way out.

This is just one slice of the screwball nature that is the Coen Brothers’ latest comedy, Hail, Caesar! There’s also a kidnapped Roman soldier, Baird Whitlock (George Clooney at his dimmest and greatest), a handsome sailor (Channing Tatum) and a beautiful mermaid (Scarlett Johansson). All opportunities–that the Coens gladly take–to simultaneously demonstrate the power and influence of cinema, while mocking its sense of self-importance.

Each scene is allowed to play out, Channing Tatum and his homoerotic musical number or Scarlett Johansson’s hypnotizing aquatic acrobatics. It’s not only an homage films of the Golden Era, but a demonstration of the mechanics that make film such an appealing medium. The Coen Brothers have a firm grasp on the allure behind each piece, using the acting, staging and costumes to propel Hail, Caesar! forward. It’s a simple concept–use filmmaking techniques to advance a theme and narrative, but by prioritizing these lengthy sequences over traditional narrative pacing or dialogue, the Coen Brothers give room for these fundamental concepts to breathe and thrive.

It’s all threaded together through Josh Brolin’s character, Eddie Mannix, studio fixer. And there’s a lot that needs fixing: a pregnant star, a discontent director, communism, threat from the future–the usual. It’s a packed schedule, and the film follows suit with a similarly hectic pacing. An array of symbols, innuendos and subversions are thrown at the viewer: Capital Studios butting with Das Kapital, Mannix being offered a role at Lockheed where they tout a more stable industry– weapon-making, or Whitlock staring at the audience as he addresses God. It borders on bombastic, but there’s just too much wit, and heart, here to discredit any of the ideas presented–fleshed out or not.

Hail, Caesar! doesn’t break new ground in the increasingly crowded sub-genre of Hollywood-on-Hollywood, but it hits a Goldilocks concoction between inside baseball cynicism and endearing love letter. Though all these antics, the Coen Brothers argue, quite convincingly, that everything in film matters, while also making a case for the futility and hollowness of anything produced on the grounds of Hollywood. So is this a nihilistic shrug at our attempt at defining and contextualizing or a fierce exhibition of the inherent power of Hollywood where life imitates art? Well, as Doyle would try to tell you, “Would that it ‘twere so simple.”

Would that it were so simple
In the Coen Brothers latest “Hail Caesar” we have exactly the same Hollywood-based mix of communist writers and Hedda Hopper-style gossip columnists as recently seem in “Trumbo”: but the films could hardly be more different.

“Hail Caesar” is the film within the film: the latest Victor Mature style ‘God and Sandals’ epic for Capitol Pictures, starring the megastar Baird Whitlock (George Clooney). Trying to keep this movie on track – together with all the other movies being concurrently filmed – is tough no-nonsense fixer Eddie Mannix (Josh Brolin). These other movies include an Esther William’s style water ballet starring gal-in-trouble DeeAnna Moran (Scarlett Johansson); an Anchor’s Aweigh-style musical starring Burt Gurney (Channing Tatum); and a pot-boiling drama featuring non- acting singing-cowboy Hobie Doyle (Alden Ehrenreich).

To add to Mannix’s tension, Whitlock is drugged and kidnapped before the final climactic Crucifixion scene can be filmed. Who’s behind the plot and why, and can Mannix restore order while keeping the story out of the eye of voracious journalist twins Thora and Thessaly Thacker (both Tilda Swinton)?

The film plays out as a series of loosely connected vignettes, some much more successful than others. Johansson’s water ballet, and indeed her entire sub-plot, is all rather dull and irrelevant and in my opinion could happily have been ditched.

Channing Tatum however is a revelation as a song and dance man in a Gene Kelly tribute. His song and dance number was for me the best part of the film and I could watch this stuff all day: I would personally LOVE IT if someone would make a complete retro-feature film in this ilk. Watch out too for Christopher Lambert (“Highlander”) as his almost incomprehensible Swiss director.

Capturing the most attention though is young Ehrenreich as the upcoming star without a clue. Many of his scenes, especially those with classical director Laurence Laurentz (a brilliant Ralph Fiennes) are hilarious.

Popping up in cameos are Jonah Hill (as the fixer’s well paid ‘man to take the rap’); Frances McDormand (“Fargo”) as a dottie film editor who really shouldn’t wear scarves; and Robert Picardo (“Star Trek Voyager”) as the Jewish representative in a contentious meeting of religious representatives discussing Christ’s portrayal in the film (“So, a priest, a Protestant, a Greek Orthodox and a Jew walked into a studio…”).

Having last year enormously enjoyed the studio tour at Warner Brother’s studios in LA (HIGHLY recommended if you can book ahead for when you are in town) it was great to see the studios making an actual film there again (as opposed to TV). Cinematographer Roger Deakin has great fun suffusing the studio and everything else with a 50’s glow, an effect extending to the old 4:3 screen format (which I can see generating some “my DVD is defective” returns in a few months!)

Is it any good? I think it’s fair to say that this is a ‘Marmite’ movie (which if you are non-British is a way of saying that the film will massively divide opinion). I’ve not seen as many people walk out of a film at the cinema in recent years.

I personally found it a light-hearted and nostalgic trip into a golden age of studio-management, show-casing again the comic gurning talents of Clooney (particularly prevalent in the scene where he gets slapped around a bit and which demonstrates his range – as if we needed reminding after “The Descendants”). Brolin is great as the straight-guy Mannix and most of the rest of the cast add value, though Johansson seems Ill at ease with her role. I’m also afraid 2 x Swinton is not equal to 1 x Mirren in “Trumbo”. But it is Alden Ehrenreich that is the real acting find of the film – a breakout role for him after more minor roles in films like “Stoker” and “Blue Jasmine”.

This is not the best Coen brothers film, being patchy and spasmodic and, in places, rather too clever for its own good. I got the same feeling watching bits of this (for example, the writer’s meeting scene) as I do in many Woody Allen films: that I am not politically / philosophically intelligent enough to understand the niceties of the script (and I’m considered quite bright!). This can be a bit alienating for an audience.

If I think back to all its numerous sub-parts it was often in 4-Fad+ territory…. but overall it’s lack of cohesive story arc brings the overall confection down a notch or two.

(Please visit bob-the-movie-man.com for the graphical version of this review. Thanks).

A fun look at Hollywood’s ‘Golden Age’
This film gives us a look at one day in the lives of those working for a Hollywood studio in the 1950s. Mostly it focuses on fixer Eddie Mannix who links various stories involving various film stars. Most prominent amongst these are the kidnapping of Baird Whitlock, the lead in a new Biblical epic, by communists; western star Hobie Doyle being asked to appear in a classy drama which demands skills he doesn’t have and actress DeeAnna Moran who is pregnant but not married. During the course of the film we also see scenes from the films the characters are making; these include a song and dance routine, a spectacular display of synchronised swimming and a comical western scene.

This film from the Cohen Brothers is part homage, part tongue-in-cheek jab at Hollywood’s golden age when studios churned out westerns, made spectacular musicals and the biggest films were epics set in biblical times. The studios micromanage their stars to ensure their public images are squeaky clean and even serious failings are covered up. This is all done in a way that provides plenty of laughs; I loved Alden Ehrenreich’s cowboy as he struggles in a new role as a far more sophisticated character and George Clooney’s leading man, in full Roman uniform, as he is kidnapped by communists. There are some fun little twists as we learn more about the characters. The cast are clearly having fun; thankfully in a way that is fun for the audience too. The story is fairly light but that doesn’t matter as it is more about the fun moments than a deep plot. Overall fans of the Cohens’ lighter fare should enjoy this.

Other Information:

Original Language en
Runtime 1 hr 46 min (106 min)
Budget 22000000
Revenue 63647656
Status Released
Rated PG-13
Genre Comedy, Drama, Mystery
Director Ethan Coen, Joel Coen
Writer Joel Coen, Ethan Coen
Actors Josh Brolin, George Clooney, Alden Ehrenreich
Country United States, United Kingdom, Japan
Awards Nominated for 1 Oscar. 14 wins & 44 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby Digital, Datasat
Aspect Ratio 1.37 : 1 (some scenes), 1.85 : 1
Camera Arricam LT, Zeiss Master Prime Lenses, Arriflex 535B, Zeiss Master Prime Lenses
Laboratory EFILM Digital Laboratories, Hollywood (CA), USA (digital intermediate), FotoKem Laboratory, Burbank (CA), USA
Film Length N/A
Negative Format 35 mm (Kodak Vision3 50D 5203, Vision3 200T 5213, Vision3 500T 5219)
Cinematographic Process Digital Intermediate (4K) (master format), Super 35 (3-perf) (source format)
Printed Film Format 35 mm (spherical) (Kodak Vision 2383), D-Cinema