Fargo is the story of Jerry Lundegaard (Macy) who hires two criminals (Bescemi and Stormare) to kidnap his wife. When blood is spilt, however, things spiral out of control. What is scarcely believable about Fargo is despite its outlandish plot, it is actually a true story.

White is the predominant colour and it is initially quite dazzling. It isn't common to see quite so much on the screen. The bitter chill of the air can almost be felt but alongside this is the coziness and reassurance of the interiors. The people are the opposite, warm and fluffy on the outside but all played with an underlying menace, like they could break at any moment. The giant fictional statue of Paul Bunyon epitomises this, it is no doubt meant to be a figure of hard work and community spirit but the camera lingers on it for an uncomfortably long time until it becomes ominous.

For all intents and purposes, this is a Coen Brothers re-imagining of a classic film-noir, a "film-blanc" even, both thematically with its humour visually with the ice. The sense of place is very strong, the accents are turned up to eleven, there is a lack of social diversity and the only minorities represented are unstable. The close sense of community gives it a polish of friendliness and safety. The performances are delivered with ham as well so despite the genuinely horrific events, they are by no means as affecting as they could be.

Fargo is an odd film. It is gruesome yet friendly, bitterly cold yet somehow warm, horrific yet somehow family friendly. Though it does not quite reach the atmospheric heights of No Country For Old Men or the comedic heights of The Big Lebowski, what is perhaps most interesting about Fargo is that it would make a deliciously sadistic yet surprisingly cuddly and neat Christmas film. Hot chocolates at the ready.