Inside Llewyn Davis is an intimate, well-executed, and honest slice of life. It features a humanistic, heartfelt performance by Oscar Isaac as the titular folk singer, arresting cinematography, and a sharp, tight-fisted script by the Coen brothers, who also directed. It's Greenwich Village in the early sixties, when folk music was either coming into its own or ready to be usurped by a more mainstream genre. Llewyn has no home, drifting from gig to gig and crashing on couch after couch as a matter of design; is vagrancy is his life's plan. Llewyn is at turns a noble soul who exists for the sake of making the music he wants to make and a resentful twerp who mooches off friends just to sustain his unsustainable lifestyle. The movie is only somewhat linear, with closing scenes mirroring opening scenes, and it is told entirely from Llewyn's point of view. The Coen brothers masterfully show us not only Llewyn's perspective but also an outside perspective; this allows us to feel both empathy and loathing toward him. Llewyn is nothing if not complex. The movie does a terrific job of avoiding the usual cliches, such as a down-on-his-luck musician catching a lucky break, or a bitter man having a quick change of heart. It's not that Llewyn is constantly sneering at everyone, holding his poverty up as both a shield and a trophy, it's that he is so multilayered that when he does a kind act or offers some praise or thanks, we don't feel that his doing so is in any way out of character. Llewyn is a self-tortured soul, but unlike caricatures of wandering folkies, he is at his center a realist, albeit a prideful one. During his travels and travails, Llewyn encounters people ranging from the genuine (his singing friends Jim and Jean, played by Justin Timberlake and Carey Mulligan) to the absurd (a rotund, blustery John Goodman). Oh, and a cat that travels with Llewyn - at least until he can get him or her back to the owner. The encounters with the genuine folks feel just as normal as if you or I encountered them; those with the more absurd of the lot feel perfectly surreal, and when they do end one almost wonders if we've all imagined the encounters through Llewyn himself. The music is beautiful and moving. Isaac himself performs Llewyn's songs, with a sweet, vulnerable voice that offers a touch of soul to Llewyn's otherwise-bleak surroundings. When Llewyn is really on, you can feel his pain leap right off the screen into your brain; when he appears to be going through the motions and not singing from his heart, you can feel the lack of depth that his intended audience also feels. Isaac is just flat-out terrific. Ultimately, it is Isaac and the music that push this film into the territory of great cinema. The story itself is stark, moody, unyielding - just like a New York City winter, really. And the movie, like Llewyn's own life, appears to have no point - except to illustrate just how pointless Llewyn is making his life, through his stubborn marriage to his craft and a desire to stay uprooted
Inside Llewyn Davis (2013) 1080p YIFY Movie
Inside Llewyn Davis (2013) 1080P
A week in the life of a young singer as he navigates the Greenwich Village folk scene of 1961.
IMDB: 7.517 Likes
The Synopsis for Inside Llewyn Davis (2013) 1080p
Follow a week in the life of a young folk singer as he navigates the Greenwich Village folk scene of 1961. Guitar in tow, huddled against the unforgiving New York winter, he is struggling to make it as a musician against seemingly insurmountable obstacles -- some of them of his own making.
The Director and Players for Inside Llewyn Davis (2013) 1080p
The Reviews for Inside Llewyn Davis (2013) 1080p
Fantastic sound, atmosphere, acting.Reviewed byDan Franzen (dfranzen70)Vote: 9/10
I saw Inside Llewyn Davis in a sold out matinee in Union Square, NYC last weekend. The city was cold and dreary, much like the 1960s Manhattan depicted in this film. I sat with my friend after the movie and basically railed against the film for the first ten minutes before slowly admitting that my criticisms were obviously the intended result and that the Coen Brothers have once again made a great movie that is simply not easy to digest and certainly not fun to digest. I'll lead with the greatness. The underlying takeaway of this film is that the actual creation of music - the sound, the beauty and the lyrical story - can embody some of the best attributes about humanity and yet, the creator of such music can nonetheless lack all such attributes and essentially be as ugly a person as his music is beautiful. That is the takeaway, and the Coen Bros intentionally force this upon the viewer. The folk songs song by Lleywn serve as calming beautiful interludes and as stark contrasts to the plot driven by a character who is simply put, a terrible human being stuck in an extremely frustrating, self-made vacuum of an existence. I assume that most people, like me, gravitate toward wanting to root for the struggling artist. There is a nobility in pursuing your dreams when such dreams consist of the pursuit of an art form. Here, folk music is put on a pedestal and LLewyn's pursuit of it is from the outset, something the audience implicitly will support. In the course of 90 minutes, the Coen Bros force you to question this support, hate the lead character and eventually cheer when he gets punched in the face. The problem is simple. I did not want any more of LLewyn Davis after 90 minutes. I did not want to hear his music anymore because the lyrics he sung were fraudulent, the beauty of his playing, a guise. And due to his self-made failings throughout the film, I no longer cared where his story went. The Coen Bros could have taken the plot line in any number of ways to give the viewer some foothold to hope that Llewyn may end up on the right track one day. They do not give you that foothold, and for that reason, I was pretty ready for this movie to end when it did. This is admittedly a criticism, but more an observation. I certainly do not need films to end with rainbows and hearts, but this script really forces you to watch a man stuck in a static world where his own actions cause him to go nowhere, and that is a frustrating world to inhabit for 90 minutes. The best parts of the film are not the Manhattan scenes, but the drive LLewyn takes to Chicago. The Coen Bros have used the theme of "driving at night" time and time again to make some great scenes, usually emotionally charged personal voyages. This is no different. Their cinematography and over all character driven story telling shines when their lead characters hit the road. The bit characters are fun and unusual in the Coen Bro's way, but do little to ease the 90 minutes of crass, immature, self-defeating, out-of-touch and eventually just pathetic life movements from Lleywn's character For Coen Brother fans, its worth the journey; for general movie fans, be warned, as this is an interesting film, but arguably not an enjoyable one.
It's amazing how dazzled one can be by so very little these days. There's very little here--a struggling unpleasant man who sings his heart out about standard "folk" catastrophes but can't take care of himself as he goes about damaging others, and animals as well. He's your 50's college roommate who cooks on a hot plate and sings about historic heroic starvations. The in- and-out mythic references are unfocused and a game for undergraduates. When the Coens go flat it's not even E flat. We're forced to watch this guy's face for an hour or so without a clue to his demons; he's just a jerk, a driven jerk but a jerk nonetheless. Best part is the recreation of the early 60's in cars, atmospheres, but then John Goodman shows up from "Where art thou?" and spoils the realistic angst. Sorry, but the early folk scene wasn't this creepy and Bob Dylan didn't rescue it from oblivion or creepiness. Without a political or sexual agenda (it got you chicks) it did flounder, but it needed an audience for shifting values and social awareness. One's suffering couldn't just be for one's art, but had to have a social dimension that this guy can't see. A genius before his time? Hardly--a guy who can't take care of himself, or his friends or family or lovers--anything but "folk." The times they were a changin', but this guy's a talented pathetic scrounge and lacks the connections to others and society that might propel him to sing for the changing times. This might be the ethos of the Coens and their films themselves--within society but not of it. Their characters struggle with their messy quirky lives but we see them as curiosities rather than representatives of anything important. There's a certain clown show aspect to their films, which creates their charm and fun but little else.