The Coens usually write tight scripts. Burn After Reading doesn’t have a particularly tight script. Instead, it’s got a bunch of great performances and funny scenes–astoundingly good dialogue (their use of curse words for humorous effect is noteworthy)–and some great details. But the film isn’t really much of a story. Literally speaking, it’s about what happens after the CIA decides to transfer John Malkovich over to the State Department for no specified reason. In the film’s first uproarious exchange, Malkovich objects to being classified an alcoholic by a Mormon (Burn came before Prop 8, so there–unfortunately–isn’t any mention of alien planets). But the film isn’t really about Malkovich. He’s in quite a bit of it–and is excellent in the film in ways he hasn’t gotten to be excellent in quite a while–but he’s not the lead by any means.

Burn distracts from its lack of protagonist or tight plotting with the funny business. There’s a reasonably traditional first act with Malkovich, but only until it introduces Tilda Swinton (as Malkovich’s wife) and George Clooney (as her lover). Swinton turns in the film’s only bad performance and it isn’t really her fault, it’s the Coen’s. She plays a pediatrician who’s cruel to kids (in front of their parents). Doesn’t seem like she’d make it long in that professional. But it gets a little worse–I don’t think the Coens even bother to name her well in the film. I’m seeing her character’s name in the credits and it’s something of a surprise… like I only would have figured it out through process of elimination.

Anyway, once they show up, it’s not long before Frances McDormand and Brad Pitt arrive. McDormand and Pitt have lots of the film’s best scenes. Pitt shows off why he’s such a great comic actor–they’re both playing dopes, with McDormand a little smarter (only a little). As far as the performances go, Clooney probably comes in second behind Malkovich. While Malkovich gives this great performance, it’s just this technically excellent actor with good material. Clooney–in his Coen Brothers mode–creates this wonderful character, full of tics and idiosyncrasies. Much like the film itself, he exists to amuse.

The only other supporting roles of note are Richard Jenkins, David Rasche and J.K. Simmons. Jenkins does very well–but he always does very well–even if he doesn’t have much to work with. Rasche and Simmons have these fantastic scenes together, which is where Burn After Reading is so frustrating. Their scenes together–two of them–are comic gold, but the scenes’ presence in the film itself is what works against Burn After Reading as a solid narrative.

It’s the Coen Brothers making a movie to get belly laughs and not taking anything else into account. I’m sure one could argue the lunacy of the plot is some kind of post-modern spy movie, but it’d be inaccurate. Burn After Reading is a really funny movie. It probably ought to be something more, given the numerous excellent performances (McDormand, who I didn’t mention before, only creates a caricature, but it’s a good one). But its failing in that department actually doesn’t feel like much of a failure.

★★★

CREDITS

Written and directed by Joel and Ethan Coen; director of photography, Emmanuel Lubezki; edited by Roderick Jaynes; music by Carter Burwell; production designer, Jess Gonchor; produced by Joel Coen, Ethan Coen, Tim Bevan and Eric Fellner; released by Focus Features.

Starring George Clooney (Harry Pfarrer), Frances McDormand (Linda Litzke), John Malkovich (Osbourne Cox), Tilda Swinton (Katie Cox), Brad Pitt (Chad Feldheimer), Richard Jenkins (Ted Treffon), Elizabeth Marvel (Sandy Pfarrer), David Rasche (CIA Officer), J.K. Simmons (CIA Superior) and Olek Krupa (Krapotkin).