First impressions can be deceptive. Take, for instance, Joel and Ethan Coen, whose movies seem distinctly built to not be watched but re-watched. Usually, for me, the initial pass through a Coen brothers film proves a strangely tepid affair — The Big Lebowski and Brother, Where Art Thou? felt flat and disjointed the first time around — and it’s not until I return for a second and third look that things start to resonate and deepen. It is only upon multiple viewings, for instance, that movies like No Country for Old Men, Fargo and especially Miller’s Crossing have revealed themselves as modern masterpieces — rich, durable and endlessly rewarding.