Burn After Reading

This is by far not the most interesting production by the Cohens, but it is worth watching on a variety of levels. First, there is the pleasure of seeing a bunch of good actors working together with great chemistry, some of them (like Pitt and Clooney) certainly not in their "traditional" roles. Second, the story is actually wacky enough to hold up in terms of internal logic, as strange as it may seem. As usual with the brothers, do expect some unexpected turns, of the violent variety. And yet, somehow, the movie retains the character of a light comedy. Pay particular attention to the very last words spoken in the film, they may be the best summary of the whole thing I've heard so far.

This is one of the best dark comedies ever made! There is only one thing that rubs me the wrong way and I won't spoil that otherwise I love this Coen brothers quirky masterpiece. I originally saw this in the theater, that was fun, I still can't believe it's been 11 years now since 08. So beyond well written and very cool camera shots; Burn After Reading makes me feel so damn good! Also I absolutely love the music and excessive use of profanity!

BURN AFTER READING is laugh-out-loud funny. It's more "Big Lebowski" than "Intolerable Cruelty," though there are wisps of both, but "Burn" is not quite up to Lebowski's genius. Still, it is very, very funny and loads of fun.

From the opening moments, the Coens' latest movie -- a spy-thriller spoof -- hurls the viewer on a hilarious romp through Absurd-land. What better place to set such a story than Washington, DC?

The story involves a demoted government worker (John Malkovich) who finds himself the target of an extortion scheme by two gym workers, riotously played by Frances McDormand (a would-be gym bunny if only she could afford some plastic surgery) and Brad Pitt (a high-energy, arm-thrusting, hip-shaking fitness trainer-cum-"good Samaritan" who lands himself way in over his head). The romp soon turns dark.

As usual, the Coens' dialog is a real treat. When a co-worker points to Malkovich's alcohol problems as a reason for his demotion, Malkovich retorts, "You're a Mormon. Next to you we all have a drinking problem." And as usual in Coen-land, there's a clash between high and low brow. Malkovich's pronunciations of "mem-wahhh" for "memoir" is a hoot, and his correction of Pitt's mistaken "report" for "rapport" propels a conflict between classes and types -- symbols of a society in trouble, whose priorities are askew.

As in the Coen brothers' 1987 box-office hit RAISING ARIZONA, obsessions fuel the plot, though this time it's body (not baby) obsession. McDormand is hellbent on getting expensive elective surgery to "reinvent" herself. Pitt is a workout addict, who can barely stop moving long enough to think straight. And George Clooney, who can only stop talking when it's time to go running or jump into bed with someone, plays a G-man fixated on sex. Notions of "intelligence" and all that the word connotes (along with its antonyms) mix into the film's dark comedic brew of unintended consequences.

Where does it go? I don't want to give away any of the twists to answer that question in depth. But I would disagree with the critics who claim it doesn't go anywhere. The movie and its over-the-top, needless violence show how secretive missions even by bumbling know-nothings (whose only knowledge of undercover ops seems to come from spy flicks) can have disastrous outcomes. Secrets in Washington? Sure sounds like a topic we should all be better versed in.

• Erica Rowell Author: The Brothers Grim: The Films of Ethan and Joel Coen http://www.amazon.com/Brothers-Grim-Films-Ethan-Joel/dp/0810858509

Nobody is quite there in this new bright farce by the Coen brothers. The plot is a smart excuse for a movie about nothing but appearing to be about a lot of things. Going backwards and forwards at the same time. Talk about "The Russians?" or planning to write a memoir. Brad Pitt is priceless and the innocence of his character is so believable that I wondered how many more surprises this actor has up his sleeve. He is a joy. George Clooney is also terrific and the Coens move through their crossed purposes with speed and elegance. I was totally immerse in their universe even if I didn't quite care what was going on. John Malkovich, Frances McDormand, Richard Jenkins and the unnerving Tilda Swinton complete the package of this movie that feels as if it was made for the sheer pleasure of it.

The Coen Brothers seem to have a catalog of movies that are both beloved and highly underrated. And no better example of the latter than Burn After Reading.

Despite the solid 7.0 Rating and the 63 on Metascore, which are all positive, especially for a mainstream US movie. I think this movie is highly underrated by both film critics and audiences. This film works under a very particular type of weird, deadpan comedy that seems to be unloved by a majority of general audiences. But I personally consider this movie to be not only one of my all-time favorites but a tremendously hilarious film filled with wonderful writing and performances.

While Brad Pitt is obviously the standout in this film, I think this film is helped a lot by the casting of the supporting actors. Richard Jenkins is my favorite of the supporting actors, and he again shows how underrated of an actor he is. He steals the show in a very nervous and insecure performance that works very well for the character.

The writing is truly exceptional, and the way every single subplot works to connect with the main story is beautifully done and is brought together wonderfully for a hilarious, but poignant ending.

If you like deadpan, awkward humor this will work very well for you. But even if you don't find the humor all that funny, this is still a very well-acted and written, and most importantly, entertaining.