Let’s be straight: within the labyrinthine coils of their films, the Coen brothers love to be serious. They may offer us Wagnerian maidens in bowling alleys or a demented hit man in a medieval haircut or a heavily pregnant policewoman in snow boots on the trail of murderous maniacs, but beneath the absurdity there is always a rumination. Sometimes, as with A Serious Man, the matter appears to be the struggle to remain virtuous in the face of an apparently mischievous deity hell-bent, as it were, on destroying your hopes. On other occasions, it is the dawning realisation by the man with the suitcase of ill-gotten cash that the equivalent of a steel boot is about to descend.Hail, Caesar! is, on at least one level, a study of 1950s Hollywood in the troubled person of Eddie Mannix (Josh