According to a poll of film critics and bloggers by indieWIRE the Coen brothers’ latest movie, A Serious Man was the best film at this year’s Toronto International Film Festival.

Here’s the top 10 Best Narrative Films;

1. A Serious Man, directed by Joel and Ethan Coen (63 points)
2. City of Life and Death, directed by Chuan Lu (20)
3. Up In The Air, directed by Jason Reitman (18)
3. A Prophet, directed by Jacques Audiard (18)
5. Dogtooth, directed by Giorgos Lanthimos (17)
6. Precious, directed by Lee Daniels (16)
7. I Am Love, directed by Luca Guadagnino (11)
7. Hadewijch, directed by Bruno Dumont (11)
7. A Single Man, directed by Tom Ford (11)
7. Lebanon, directed by Samuel Maoz (11)

Star of the movie, Michael Stuhlbarg also came in third in the poll for Best Lead Performance;

1. Colin Firth in “A Single Man” (13)
2. Tilda Swinton in “I Am Love (12)
2. Michael Stuhlbarg in “A Serious Man” (12)
4. Tahar Rahim in “A Prophet” (10)
5. Anne Dorval in “I Killed My Mother” (9)
5. Nicolas Cage in “The Bad Lieutenant: Port of Call New Orleans” (9)
5. Matt Damon in “The Informant!” (9)
5. Katie Jarvis in “Fish Tank” (9)

Very nice indeed. I’m getting very excited about the movie now but I have quite a long wait. Don’t forget you people in the US that the movie is out on 2nd October! Also, remember that you can keep you Coen diary up-to-date using the widget in the side-bar on the right.

The official site for the Coen brothers’ latest movie, A Serious Man, is now live. You can check it out here. There isn’t much to it at the moment…

/Film writer and creator Peter Sciretta has reviewed the Coen brothers’ Toronto Film Festival new ‘un, A Serious Man. Sciretta has also put together a video blog with Steve from Collider.com where they both spout very enthusiastically about both A Serious Man and Jason Reitman’s Geroge Clooney starring Up In The Air.

“The Coen brothers’ A Serious Man is very comparable to Alexander Payne’s masterwork Election, which just happens to be one of my favorite films of all time. Both films are brilliant dark comedies about teachers who are trying to do their best, trying to do the right thing, and somewhere along the way, make one small bad decision which spirals out of control into the biggest mess you’ve ever seen.

A Serious Man is set in 1967, and centers on Larry Gopnick (Michael Stuhlbarg) a midwestern professor who is faced with divorce, and all the consequences that may bring to his Jewish family, which includes a son prepping for Bar Mitzvah while evading bullies at school, a daughter, and his crazy gambling brother who keeps getting into more trouble. Larry seeks answers from three local rabbi, none of which are able to give him any advice he believes to be of value. And things only get worse, because they certainly aren’t getting any better.

A Serious Man is my favorite Coen Brothers film produced in the last decade, the exact period of time since Ethan and Joel created the comedy cult classic The Big Lewbowski. It is not only a brilliant dark comedy which will have you laughing out loud, but a masterful character study filled with great performances, of a family in crisis, the moral decisions they face, and the horribly funny consequences that result. The ending will have you talking about the movie well after leaving the theater, which to me is one of the definitions of great cinema.”

/Film Rating: 9 out of 10 – Peter Sciretta

Here’s the somewhat rambling video blog;

TIFF Video Blog: A Serious Man and Up in the Air from /Film on Vimeo.

Three of the cast members of A Serious Man, Michael Stuhlbarg, Richard Kind and Sari Lennick discuss just how thorough the Coen brothers were when casting Jews for the movie…

Below is a short movie clip from the red carpet of the Toronto International Film Festival world premiere of A Serious Man. It features brief interviews with start Michael Stuhlbarg and Amy Landecker and also a brief bit with Joel Coen at the podium.

It’s hard to discern an actual opinion from this review (is it even a review?) but, to me at least, it seems positive. What do you think?

“Stay through the end credits of Joel and Ethan Coen’s A Serious Man and you’ll find the disclaimer: “No Jews were harmed in the making of this motion picture.” That statement is open to dispute, since most of the film’s characters are Jewish — residents of suburban Minneapolis in 1967 — and just about all of them, it seems, are out to harm the Coens’ hapless hero, college physics professor Larry Gopnik (Michael Stuhlberg), either intentionally or just by ignoring his mostly mute cries for help.

Not that the Coen brothers — who were raised in an academic Jewish family in Minneapolis, and were 13 and 10 respectively when the movie takes place — are self or other-hating Jews. But as filmmakers (and Oscar-winners, last year, for No Country for Old Men), they’ve always enjoyed anatomizing humanity’s weak points and turning them into a kind of comedy. The lynch party, composed of Jews and gentiles, that assembles around Larry is full of these caricatures. And Larry was made to be intimidated, ignored, abused. He is a passive protagonist whose plight earns him as much pity as sympathy. SoA Serious Man, which has its world premiere tonight at the Toronto Film Festival before opening in theaters Oct. 2, �is a rare event in movies, where action is character. It’s certainly rare for the Coens, in that this is one fable— Miller’s Crossing might be another — that is worth taking seriously.

In the two weeks leading up to his son’s bar mitzvah, Larry is subject to a catalog of social crimes, small and large. His wife Judy (Sari Lennick) has become close with family friend Sy Ableman (Fred Melamed); she wants Sy to move in and Larry to stay at the Jolly Roger. Larry and Judith’s son (Aaron Wolff) is slumming through Hebrew school and harangues Dad to adjust the rooftop TV aerial so F Troop can come in clearly. Their daughter (Jessica McManus) thinks only getting a nose job and washing her hair, which she can’t do nearly enough of because Larry’s live-in, layabout brother (Richard Kind) spends a lot of time in the bathroom medicating his neck cyst.

At work, where Larry is up for tenure, a Korean student to whom he gave a failing grade leaves him an envelope full of bribe money; when Larry refuses, the student’s father drops by to say he may sue the professor for defamation. The neighbor on one side is a belligerent, moose-killing goy; on the other side is not threat but temptation in the form of a pretty woman (Amy Landecker) who smokes pot while sunbathing nude. Anything else? Larry’s legal bills are piling up, he just crashed his car, he needs to visit his doctor, and the guy from the Columbia Record Club keeps calling to dun him for a membership Larry never took out. According to those in his local synagogue, he isn’t even the serious man of the title; that honorific goes to the oleaginous, wife-stealing Sy. Compared to Larry, Job had it easy.

Larry is a familiar figure from Jewish literature that dates back to the Old Testament and up to Bruce Jay Friedman’s 1962 novel Stern, about a Jew who moves to the suburbs and endures a plague of abuse from neighbors and nature. The men at the center of Philip Roth’s novels may rage and flail, but Larry doesn’t dish out insults, he takes them. When the truth is found to be lies, and all the joy within you dies, just suck it up and hope you don’t explode. That’s Larry’s method of coping. In Stuhlberg’s precise embodiment, Larry accepts all tribulations with a mouth pressed into pruny silence, as if �he had bitten into something rancid but doesn’t want to be seen spitting it out. Wouldn’t matter if he did: no one gives him a moment to articulate the psychic pains he harbors.

The movie has no stars, few recognizable faces. And unlike so many American films, which cast gentiles in Jewish roles (Imelda Staunton, for example, as the stereotype mother in Ang Lee’s Taking Woodstock, also about suburban Jews in the ’60s), this one actually has ethnic-appropriate casting. The Jews here are sometimes broadly drawn — Larry’s family slurps soup at a decibel level that even the Simpsons would find deafening — but they’re fully assimilated. Nobody says, “Oy vey!” or talks shtick. If people answer a question with a question, the first would be Larry’s plaintive “Why me?” when he seeks legal, emotional or spiritual help, and the second the world’s “Who cares?”

Richard Corliss, Time

While not overly positive about the Coen’s ouvre, Joshua Rothkopf from Time Out New York is very positive about A Serious Man…

“Can I have been completely wrong about the Coens for more than two decades? Raising Arizona andBarton Fink were my gateway drugs into what I thought was significant cinema; now I cringe at how painfully wacky those movies are. Meanwhile, by the time The Big Lebowski came out, I thought I had smartened up, so I brandished my dislike. Yet that film is so clearly their sweetest: a frog-and-toad story and a masterpiece.

Now comes A Serious Man, set in Jewish suburban Minnesota in 1967. The drama shows the Coens still keenly attuned to language and banality, almost to the point of caricature. But pinned behind their gorgeous compositions (capturing the woody, ashtray-laden decors of lawyers’ offices and synagogues) is a new feeling, a modulation onFargo’s desperation. Finally, I feel that the brothers have written their signature script, about trying to hold it all together amid so much tightly wound phoniness. No matter how aggressively lacquered their style is, it totally works in this case, and beautifully.

The plot is basically one man’s breakdown, that of math professor Larry Gopnik (the extraordinary Michael Stuhlbarg, underplaying the character’s neuroticism; he’d find Barton Fink a shanda for the goyim). His wife is leaving him for a rotund habitual hugger. Larry’s uncertain about his tenure track, a student is blackmailing him, and his neighbor might be a virulent anti-Semite. But compared with the heavy lifting of something like American Beauty, A Serious Man fills its running time with smartly observed smaller details that might amount to nothing: half-cognizant rituals, the sonorous croons of cantors and the misadventures of a stoned bar mitzvah boy.

It’s not Neil Simon–esque nostalgia, but rather a dark satire on the idea of living an upright life. Larry, in his increasing panic, consults several rabbis whose wisdom is questionable. The parables they tell him go nowhere; one of them, magnificently spun to a Jimi Hendrix jam, might be the Coens’ finest sequence, period. I have a line of dialogue stuck in my head, too good to overexplain with context: “Accept the mystery.” It’s the wisest thing the Coens have written, and I’m wondering if I finally need to accept that they’ve become profound.”

The subject line says it all really. Click here to see some red carpet snaps from the Toronto International Film Festival world premiere of A Serious Man.

Hit this link to see a video of Toronto International Film Festival co-director, Cameron Bailey talk about A Serious Man.

indieWIRE’s reviewer, Eric Kohn, isn’t completely happy with A Serious Man…

“If Joel and Ethan Coen’s “A Serious Man” were classifiable in familiar movie terms, one might consider this oddly compelling period piece as “The Chosen” meets “American Beauty.” But, as usual, there’s nothing familiar about the Coen brothers except their own quixotic ways. While their latest black comedy suggests a greater element of autobiography, it’s loaded with contorted stylistic flourishes and hilarious moments of baffling existential ruminations. Chronicling the relentlessly ill-fated exploits of neurotic Jewish math teacher Larry (Michael Stuhlbarg) in the late 1960s, it feels like a throwback to the “Barton Fink” days of spectacularly meaningless symbolism, loads of gallows humor and genuine directorial finesse. Coen fans should rejoice: For these guys, more of the same basically means a return to form.

Even with its recognizable tropes, there’s an element of ingenuity to “A Serious Man” when situated in the Coen canon. The movie synthesizes their past and present achievements. Recalling the situational comedy of “Burn After Reading” (which itself recalled the situational comedy of “Fargo”), Larry’s problems form a laundry list of insurmountable woes: He grapples with his nagging wife Judith (Sari Lennick) and her patronizing lover Sy (Fred Melamed), desperately tries to communicate with his aimless son (Aaron Wolff) on the brink of his bar mitzvah, dodges threats from a disgruntled student and feebly attempts to help his deadbeat brother (Richard Kind) solve a gambling problem. Though Larry’s troubles are exploited for the sake of the Coens’ prankish tendencies, he perseveres by way of spiritual convictions that play out with unexpected sincerity. Adopting a desperate stare and constant naivete, Larry oozes pathos. As an archaic symbol of the post-World War II nuclear family, he represents a dying breed, recalling Tommy Lee Jones’s resigned stance in “No Country for Old Men.” Thus, “A Serious Man” draws liberally from the Coens’ own work. At once devilishly confounding and mature, it’s unquestionably their most personal movie yet.

The facts speak for themselves: Born in the late 1950s, the Coens grew up in a Jewish suburb of Minneapolis most likely akin to the white picket fence world where Larry’s story takes place. As a gateway to the filmmakers’ nostalgia trip, the movie suggests an emotional honesty unseen in their previous films. If Larry’s community bears a resemblance to the one of the Coens’ youth, then we should be able to read it as a guide to the seeds of their inspiration. Larry’s son embodies adolescent confusion, but he’s also an essential witness (as the Coens may have been) to the religious community’s tired rituals and incessant vanity. Coen characters who want to control their fates generally suffer as a result, and Larry makes no exception. The odds are always against him. Despite his good nature, he’s punished for sincerity, a factor that injects the movie with secular convictions.

Nearly everyone in “A Serious Man”—including, it seems, the handful of rabbis that Larry visits at the brink of his frustration—constantly chase their beliefs in desperate attempts to maintain faith in some grand scheme, and yet a final cohesive vision never comes together. A lengthy anecdote about teeth with godly engravings goes nowhere. Various other narrative tangents, such as Larry’s attraction to a seductive neighbor seemingly lifted from “The Graduate,” merely pile onto the story’s existing density and occasional detract from its underlying substance. However, the Coens sustain the movie through its arbitrary moments thanks to their handy playbook of bizarre cinematic techniques, including offbeat musical montages, dream sequences and an array of compelling performances. It’s disorientation as entertainment. On paper, Larry’s plight almost makes sense, but the big picture remains unfocused.

Instead, we get fragments of ideas that implicitly criticize the restricted nature of Larry’s Jewish community. The Coens perfected the art of the strange a long time ago, but I’m not sure if they’ve ever been quite so esoteric: “A Serious Man” opens with a quote from the Talmudic scholar Rashi, drifts into a late-1800s prologue spoken entirely in Yiddish, and contains unsubtitled Hebrew school jargon. Larry’s wife tells him she needs a “get”—a Jewish certificate of divorce—so that she doesn’t become an “agunah,” a woman chained to her marriage. Since the Coens explain so little, many viewers will identify with Larry’s ongoing confusion. There’s an undeniable Biblical quality to his Job-like suffering as he desperately tries to justify his misfortunes. “Is Hashem trying to say we are all one?” he wonders aloud after a plot twist that would suggest as much. He gets no clear answer, and neither do we.

Still, the Coens actually manage to deliver a vaguely heartwarming fable about family bonds and coming-of-age experiences (the stoned bar mitzvah climax qualifies as one of their great set pieces). But just when the sentimentalism settles in, the brothers retreat from a neat finale, allowing Larry’s world to simply devolve into an endless tsunami of tsuris.” – Eric Kohn, indieWIRE