The critic who has propounded a view like this is Jerold J. Abrams in his essay "'A Homespun Murder Story': Film Noir and the Problem of Modernity in Fargo" that appears in the book "The Philosophy of the Coen Brothers". Abrams points out the central behavioral of every major character in the movie is a breakdown in communication with one another. This is indicative of the isolation and alienation of them all. (In his view, this is a modern problem rooted in The triumph of Reason in the Enlightenment over the mythology that's really central to human beings and their cultures.)
Marge calls a day beautiful that's cold and snowy. This is an accommodation of her thought to a nature that actually presents us with evil in the form of catastrophes, large inconveniences and often malicious consequences. This is her refusal to confront evil in nature and in human beings and to make a serious attempt to understand it. In other words, it's a cop out. When we see William Macy hacking at an iced windshield or when her prowler needs a start after sitting out in the cold, the actualities of cold, snow and ice come more clearly into view.
"Fargo" doesn't address the question of evil either. It shows it but doesn't explain it. It doesn't refer it to Fate or Destiny, which is sometimes seen as the force at work in classic noir. It doesn't refer both good and evil to God, as in the Bible. It doesn't refer them to a mechanistic universe in which physics is king and all causation is determined from day 1 and before. The one alternative that never seems to get much play is that non-determinism coexists with determinism. If humans are not 100% machines, then they have a degree of freedom at the core, and so does the universe. The existence of this freedom creates the option of good and evil. Good and evil come with the turf of life and being, inseparable from them.