sakram This is the kind of movies I really like to watch from time to time, they won't overload your mind, won't demand lots of thinking, they are light on your heart, and will definitely make you chuckle and laugh, moreover they have a point, and Raising Arizona does just that. With Nicolas Cage in the lead, and the not-so-much-telling title, you gotta question what this movie has to deliver, but it did deliver quite some. It's a cool movie to watch with your friends trust me.7/10

zaremskya-23761 This film is excellent. The Cohen Bros put together a motley assortment of characters to form a spectacular cast. The premise of the film is wild and out of control, leading to the kookiest of hijinks that put the characters in a host of trouble all the way through.The theft of a baby to replace a barren womb sounds unfeasible to most, and indeed, the execution of, and results of said action are remarkably absurd. Lives become intertwined in the perilous events of the film, and the C. Bros are able to balance the ludicrous aspects of the film with somber, thoughtful dialogue and insightful philosophical musings from the characters, which makes the return to the wild action all the more hilarious.The C Bros have just begun in their careers, but already they have cemented their place in greatness with this spectacular Southern romp. It's sharp, fast-paced, and witty with insane chase scenes, nutty characters and just all out fun. Terrific film.

kijii This is tall tale comedy about a recidivistic convenience store robber, H.I. McDonnough (Nicolas Cage), who marries a barren cop, Ed (Holly Hunter) whom he had met on several occasion while being booked into the Maricopa County Maximum Security System. Ed feels that they desperately need a baby to make their family life complete. But, since she can't have a baby and they can't adopt one (due to H.I's long criminal record), he decides to steal one of the locally well-known Arizona quintuples made famous by their father, Nathan Arizona. Arizona is an unpainted furniture tycoon and TV commercial celebrity. The kidnapping of the Arizona baby leads Nathan Arizona to "hire" a biker bounty hunter from Hell to find his baby. Added to this, H.I, has other problems such as a visit from two of his old penal inmates, who break out of jail and won't leave his family unit alone. Another of H.I.'s problems is the fact that his boss, Glen, and his wife, Dot, are "swingers" in the sense that they are into spouse swapping and want H.I and Ed to swap partners with them some time. They also want a child young enough to cuddle and seem to have their eyes on the Arizona baby. All this leads to some hilarious high-speed chases through the Arizona desert. This was the first Coen brothers movie that I ever saw in a movie theater. I wasn't ready for it then, but now it just fits in perfectly with all of their other great movies.

higherall7 Just a howl from start to finish! The exposition is marvelously evolved and the opening credits as grand as any narrative hook sent to arrest you and go gunning down the road. This is a beautiful and yet sensitive and sympathetic portrayal of Midwestern and Southern white folk also referred to as so-called 'white trash'. Carter Burwell really knows what he is doing with the music; a mixture of organ, banjo, whistling and yodeling; and the Coen brothers edit it all in to the brilliant chase sequences with verve and exhilaration until music and motion are almost a form of high poetry.The lines of dialogue are as good as anything Abbott and Costello could have devised and it's fun to watch Nicholas Cage race around as reformed ex con H.I. McDunnough to see who's on first. Holly Hunter as his twice decorated police officer wife is also wonderfully histrionic as Edwin 'Ed' McDunnough and Randall 'Tex' Cobb comes riding out the hell of one of H.I. McDunnough's nightmares as though sent on a mission from the Grim Reaper. John Goodman and William Forsythe as the Gale and Evelle Snoats brothers cheerfully demonstrate the bonds of friendship that can accrue between members of the penal institution. Trey Wilson has some of the best lines as the harried, upright television entrepreneur Nathan Arizona, and comes across at turns as savvy, righteously indignant, and even wise about the human condition in a homespun sort of way.Admittedly many of the characters are caricatures of real life people and look and act like refugees from a Robert Crumb comic strip, the far side of the moon exaggeration of so-called 'crackers' we would make jokes about after games of softball and drinking cool-aid. But it is fun to watch these denizens of the New South and New West cavort around in their own buffoonery and misdirection with those famous narrow-minded attitudes and folksy perspectives we have all come to know and love. I found it a welcome respite from all the charges about how black folks were compelled to be the clowns and buffoons and indulge in all manner of coonery for the entertainment of largely white audiences. I found these under-educated, none too bright citizens of the Coen Universe oddly charming in their furious attempts to entertain me for once.The most appealing part of the film for me comes at the end when H.I. McDunnough has a dream that takes him into the Future. I have read that one of the limitations of the criminal mind is its inability to properly forecast a positive Future. Here at the film's conclusion McDunnough seems to evolve psychologically to make this quantum leap into a new beginning. This is quite an endearing sequence and it is hard to fault a couple who wanted to create a family so bad they would break or bend any law known to man or beast to get it. After all, isn't that the American Way?Or was that last night's pickles and ice cream talking?