Fargo

The North Dakota setting is icily evocative, the supporting characters perfectly pitched (remember Marge's old flame Mike Yanagita?), while the air of sadness that blankets the film like snow adds genuine profundity.

Its brilliance [lies] in making the forces of law and order look as interesting and funny as the bad guys.

McDormand aside, the secret might be the perfect pitch of the black comedy, the two elements in rare harmony.

The movie stands as a pseudo thesis of the things the Coen Brothers have been interested in all along...

The Coen Brothers are among the most able practitioners in America and this film is one of their best attempts to turn a familiar genre -- the True Crime drama -- into something miles away from the ordinary.

[Frances] McDormand is excellent and has a lot of fun with her tenacious and competent character, who is dedicated to duty and her sweet, supportive husband.

A memorable black comedy that, without a doubt, stands out as one of the best within the Coen brothers' impressive filmography. [Full review in Spanish]

Immaculately plotted, beautifully written and superbly shot by British cinematography Roger Deakins, a longtime Coen collaborator, Fargo is a treasure.

Fargo begins with a thunderous orchestral score by Carter Burwell as it beckons the audience towards the tragic events that are about to unfold.

Fargo is a masterwork, one of the best films we’ve ever gotten to dissect the uneasy balance behind good and evil in a world where everyone might come across as nice.