Editor’s note: Our review of Inside Llewyn Davis originally ran during this year’s Cannes Film Festival, but we’re re-running it now as the film opens today in limited theatrical release. The eighth In Competition banner for the Coen Brothers at the Cannes Film Festival is their first in six years, since their eventual Best Picture Oscar winner No Country for Old Men. Though there isn’t a chance for the intrepid filmmaking duo to repeat the same success here, the feeling coming out of Inside Llewyn Davis is that the brothers would not have it any other way. Indeed, while terming their latest work the worst thing they’ve put out since The Ladykillers might send alarm bells ringing, when you consider their body of work since – No Country, Burn After Reading, A Serious Man and True Grit – it begins to seem not quite so bitter a pill to swallow. Tackling the New York folk music scene of the 1960s, the Coens’ latest sees the titular character (Oscar Isaac) stumbling through the city by the seat of his pants, trying to make it as a musician in an ostensibly difficult niche. Hopping from sofa to sofa, LLewyn drifts through life, propelled almost singularly by a desire to meet music maestro Bud Grossman (F. Murray Abraham) while his personal life, namely a surprise pregnancy by way of occasional partner Jean (Carey Mulligan), crumbles around him.