Shop the most fashion forward nursing uniforms, medical scrubs, lab coats, compression socks, stethoscopes and nursing shoes. 4655 East 82nd Street Indianapolis, IN 46250. Scrubin Is Your Destination For the Lowest Prices On Nursing Scrubs, Medical Uniforms, Medical Supplies & More. Shop At Scrubin and Save On Scrubs Today! Rent, buy, and watch movies and TV shows with Vudu. Watch online or on your favorite connected device with the Vudu app. No subscription, free sign up. Rent or buy the latest releases in up to 4K + HDR before they’re available on DVD, and watch TV shows by episode or season.
Into a rather goofy singing-cowboy vignette, the title story, starring Tim Blake Nelson as a man in a white hat who addresses the viewer most cheerfully before he begins blowing holes in any number of dirtier men who won’t cooperate with him. Is he, as a wanted poster paints him, a “misanthrope?” No, he insists, he just doesn’t like to be, um, contradicted.
This episode is a gasp-inducing wonder, a perfect storm of Frank Tashlin and Sam Peckinpah stylings, suggesting this is going to be one of the more raucous and absurdist Coen outings. The next story, starring James Franco as an ill-fated bank robber, leads up to a punchline that’s one of the funniest in the Coen canon.
In the third story, “Meal Ticket,” the movie takes a grim, mean turn. Its protagonists are a taciturn, hard-drinking traveling showman, Liam Neeson, and his charge, an armless and legless young man with a great store of poetry and scripture at his command, billed as a great “Orator.” Beginning his “set” every night with Shelley’s “Ozymandias,” he speaks to ever-dwindling frontier audiences, compelling Neeson to make an arguably ruthless business decision.
In “All Gold Canyon,” inspired by a Jack London story, Tom Waits—who fits so well into Coen World that it’s kind of a shock to realize this is his first picture with the filmmakers—plays a prospector for whom process seems more fulfilling than the accumulation of wealth. The next story, “The Gal Who Got Rattled,” featuring remarkable performances from Zoe Kazan, Bill Heck, and Grainger Hines, is also an adaptation, from a story by Stewart Edward White, but the Coens stack it with mordant ironies that not only make it their own, but make it perhaps the saddest of the tales here.
There’s a lot of killing in this movie, and many of those who suffer it are depicted lying down, with their eyes open, looking at the sky. In the movie’s final story, “The Mortal Remains,” one of a pair of bounty hunters, played by Jonjo O’Neill, tells his fellow passengers in a stagecoach of how, after his partner (Brendan Gleeson) has “thumped” one of their victims, he enjoys looking into that man’s eyes and watching as he negotiates the border between life and death, trying to find a state to which he can be reconciled. Do any of them “make it?” one of the passengers asks. “I don’t know,” the bounty hunter says cheerfully. “I’m only watching.”
Into a rather goofy singing-cowboy vignette, the title story, starring Tim Blake Nelson as a man in a white hat who addresses the viewer most cheerfully before he begins blowing holes in any number of dirtier men who won’t cooperate with him. Is he, as a wanted poster paints him, a “misanthrope?” No, he insists, he just doesn’t like to be, um, contradicted.
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This episode is a gasp-inducing wonder, a perfect storm of Frank Tashlin and Sam Peckinpah stylings, suggesting this is going to be one of the more raucous and absurdist Coen outings. The next story, starring James Franco as an ill-fated bank robber, leads up to a punchline that’s one of the funniest in the Coen canon.
In the third story, “Meal Ticket,” the movie takes a grim, mean turn. Its protagonists are a taciturn, hard-drinking traveling showman, Liam Neeson, and his charge, an armless and legless young man with a great store of poetry and scripture at his command, billed as a great “Orator.” Beginning his “set” every night with Shelley’s “Ozymandias,” he speaks to ever-dwindling frontier audiences, compelling Neeson to make an arguably ruthless business decision.
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In “All Gold Canyon,” inspired by a Jack London story, Tom Waits—who fits so well into Coen World that it’s kind of a shock to realize this is his first picture with the filmmakers—plays a prospector for whom process seems more fulfilling than the accumulation of wealth. The next story, “The Gal Who Got Rattled,” featuring remarkable performances from Zoe Kazan, Bill Heck, and Grainger Hines, is also an adaptation, from a story by Stewart Edward White, but the Coens stack it with mordant ironies that not only make it their own, but make it perhaps the saddest of the tales here.
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There’s a lot of killing in this movie, and many of those who suffer it are depicted lying down, with their eyes open, looking at the sky. In the movie’s final story, “The Mortal Remains,” one of a pair of bounty hunters, played by Jonjo O’Neill, tells his fellow passengers in a stagecoach of how, after his partner (Brendan Gleeson) has “thumped” one of their victims, he enjoys looking into that man’s eyes and watching as he negotiates the border between life and death, trying to find a state to which he can be reconciled. Do any of them “make it?” one of the passengers asks. “I don’t know,” the bounty hunter says cheerfully. “I’m only watching.”