After landing the youngest western as No Land for Old Men and True Grit Place in the graces of Academy voters, the Coen brothers cross the American border again with their latest film The Ballad of Buster Scruggs received overwhelmingly positive response on Friday from the film critics of the Venice International Film Festival
"The Coens have given us a hilarious, beautifully made, very entertaining and rather disturbing anthology of stories vignettes that overwhelmingly switch from picturesque sentimentality to gruesome violence " The Guardian 's Peter Bradshaw writes about the film after its premiere at the Italian Festival.
Although its structure suggests otherwise to early reports, Buster Scruggs ̵
"This is a well-made image, with a richly plausible score by Carter Burwell, it's in many ways an old-school western, and if it's funny or satirical, that does not mean it's pure pastiche. There is a commitment to the genre, though the sheer uncanny nature of what is shown has an ironic effect: tiny individuals traversing their tiny path through gigantic or iconic landscapes, tiny benches or shores scattered in the middle of the prairie mirage, the settlers always in danger of Indians, who are certainly portrayed as a foreign presence – they do not get a story – but the white men and women are themselves mostly purchasable, pompous, greedy and violent, "continues Bradshaw.  The Telegraph 's Robbie Collin calls the film "half fish, half poultry and totally inspired," as well as a "dazzling Mosey through the creeks and canyons of Coenesque, their scattershot format and of bizarre and macabre A sense of humor belies a formal ingenuity and surgical control of the sound that keeps the viewer constantly unprepared. "For Time Stephanie Zacharek writes that the film" strokes of the Coens' "contains humor," though It takes on an increasingly "melancholy" tone as the project progresses to a critique of America's grim footing on stolen land.
Less enthusiastic in his review is The Wrap's Alonso Duralde, who's The Ballad of Buster Scruggs will be, at best, a charming footnote in the Coens' career, a project they gladly did and possibly enjoyed even more to a movie we to keep their CV free of episodic television. How Netflix binges works is pretty good, but be prepared to love some more episodes than others. Similarly, Variety 's Owen Gleiberman calls the collection "a Coen trifle – or rather six of them – that's a bit more.
In the end, the film is "partly sincere and partly smarmy, partly amusing and partly windy nonsense", after The Todd McCarthy, who goes on to say, "plays like a western vaudeville show with six unrelated sketches of drastically different quality. In other words, this little western anthology is a little Coen Brothers worth looking at Netflix, which supports them, but is very theatrically limited.
The Venice screening may be the crucial first piece of an Oscar-bound film Season Puzzle (Venice has world premieres for the best picture winners and nominees such as The Hurt Locker Gravity Birdman Arrival,  The Shape of Water, Three billboards ahead of Ebbing, Missouri, and eight others since 2007), Netflix's # 39; scripted features have yet to prove a consistent strength on the racetrack and Buster Scruggs has the makings of a real challenger.Last year Mudbound became the merchant's first fiction to record over-the-line nominations, and Alfonso Cuaróns Roma seems to be at a halt Netflix also received its first nomination for the best picture.
Still, thanks to the changing attitude towards Netflix & # 39; streaming- against cinema release model (paired with generally positive reactions from Venice and the fact that the last four Coen images have each received at least) ever an Oscar nod), Buster Scruggs could soon be the tune Sing the award ceremony when the streaming giant plays his cards properly.
The Ballad of Buster Scruggs will be heard on Netflix (and in limited theatrical release) beginning on November 16th. Continue reading for further reviews of the movie from the Venice Film Festival 2018.  Peter Bradshaw ( The Guardian )
"This is a well-made image, with a richly plausible score from Carter Burwell: It's in many ways an old-school western, and if it's funny or satirical, that does not mean it's pure pastiche, there's a commitment to the genre, even though the sheer uncanniness of what is shown has an ironic effect : tiny individual figures tracing their tiny path through gigantic or iconic landscapes, tiny benches or shores scattered in the middle of the prairie mirage, the settlers are always in danger of Indians, who are certainly portrayed as a foreign presence – they get none History – but the white men and women are themselves mostly purchasable, pompous, greedy and violent. "
Stephanie Zacharek ( Time )
"On some days, a happy outlook just will not be enough. For these days, there is Joel and Ethan Coens The Ballad of Buster Scruggs, a book of cowboy stories written in film language and playing here in competition at the Venice Film Festival. This little anthology, produced by Netflix, starts off in a carefree gallop and gets increasingly gloomy. It ends with a stagecoach that literally leads to the death door. Although there are strokes of the Coens' signature arc, most of The Ballad of Buster Scruggs are not what one would call a laughter spasm. There is also something really sad about it; You feel a bit exposed, as if you had fallen alone in the expansive prairie and would not be sure if you wanted to be there. It looks gloomy and, as shot by cinematographer Bruno Delbonnel, is dazzling to behold, a reinvention of the classical literature of the Old West with a picture-book feel. "
Alonso Duralde ( The Wrap )
" The Ballad of Buster Scruggs will be, at best, an enchanting footnote in the career of Coens, a project that they liked to do, and maybe even enjoyed, to turn themselves into a movie They can keep their CV free from episodic TV. Like Netflix binges, it's a pretty good one, but be prepared to love some episodes more than others. "
Robbie Collin ( The Telegraph )
" The casting is so local -on, the accuracy has a kind of weird beat – and even more so in the mortal remains, in where six mismatched travel companions rub one another in the wrong direction, while their car dismisses them … well, again, let's just let the movie play his hand. Tyne Daly plays with an eyebrow made up of a Laurel & Hardy Two-Reeler, Chelcie Ross a bubbling furry catcher, Saul Rubinek a grumbling French windsock, Jonjo O Neill a Mephistophelian Spiv, Brendan Gleeson his gently singing business partner. Passenger number six? He is a corpse and is strapped to the roof. They are a wildly mixed lot and bounce off each other in a messy, hectic way. But placed next to each other, they simply click like a cylinder on a combination lock, and fate takes another turn from their suitcase. Of course they are the whole movie in miniature. "
Owen Gleiberman ( Variety )
" Yet The Ballad of Buster Scruggs in its gnarly and amble, justifies its existence as a film. It's full of majestic wilderness pictures that pops up on the screen (Monument Valley rarely has this otherworldly in its grandeur, and there are green mountain views so immaculate you want to go back to the past and live there). What's more, the episodes are linked to death through an unscrupulous obsession that eventually adds up to something. Not something important, but a topic with a pinch of resonance. Will there be an audience for The Ballad of Buster Scruggs ? I predict: not enough of one. But for those who leave, it's a Coen trifle – or rather six – that adds up to a trifle.
Todd McCarthy ( The Hollywood Reporter )
"Partly sincere and partly smarmy, partly amusing and partly windy nonsense, The Ballad of Buster Scruggs plays like a western variety show with six unrelated sketches of drastically different quality. In other words, this little western anthology is a little Coen brother who's worth watching at Netflix, which supports him but is theatrical of very limited potential.
Eric Kohn ( IndieWire )
] "As the invisible reader finishes the book, Buster Scruggs leaves much to be desired, and little to be Justify weight. Regardless of whether it was actually intended as a mini-series, it may have worked better in this context; As it stands, the expansive collection offers a sort of cinematic liner note for the native aesthetics of the Coen. Her unique style is so deeply rooted in pop culture that she is often taken for granted (or, with F / X Fargo series, turned into pastiche). Buster Scruggs is a unique illustration of what makes the Coen formula so attractive and a reminder of so many better examples. "