I suppose Inside Llewyn Davis is a good film, as I just screened it last night at the world-famous Little Theater and can’t stop thinking about it. I’m not sure that means that I liked it.

I mean, as far as I can tell, it was meant that the protagonist was the cat. I mean there were times I found myself rooting for the main character of the film and every time I did I was nothing but disappointed in him. Every chance this moody asshat has to redeem himself he veers in the opposite direction; in one instance quite literally. AKRON IS NO WORSE THAN NYC THAT TIME OF YEAR, PAL!

Perhaps what I expect on the screen these days is too simple, but I’m always looking for the character who is my vehicle. This person should at the very least be redeemable, someone I believe might win and want to see that unfold. At the end of this movie, Llewyn Davis gets kicked in the stomach, and you’re really kind of like yeah, that happened. Shrug.

I guess what’s supposed to redeem the character is his music. And yes, the soundtrack is impressive. But was the film’s point to recreate “Amadeus” with a strict focus on Salieri (Davis to a bit more meteoric figure named Bob Dylan)? Thus, was the casting of F. Murray Abraham coincidental, or was it supposed to elicit a bit of sense memory?

And should a film like this make me yearn to be sitting through “I’m Not There” instead?

It was nice to see Adam Driver and Alex Karpovsky do something different from their respectively moody and yelly characters in the HBO series “Girls,” especially Driver, who makes a comical though brief turn as apparently equally frustrated country artist Al Cody. However, I’m not certain that I learned any more about that scene than I did from “A Mighty Wind.”

And all I could do throughout was worry about that darned cat.

It’s worth a watch I reckon, especially on a belly full of ribs, macaroni and cheese, and beans and cornbread. Pops, we gotta go to Sticky Lips more often.