The Big Lebowski

[WrathOfHan]

9 hours ago, Goffe said:

Yeah, no.

 

Barton Fink 95/100
No Country for Old Men 85/100
True Grit 80/100
Intolerable Cruelty 80/100
Fargo 75/100
Blood Simple 70/100
Raising Arizona 65/100
A Serious Man 60/100

The Big Lebowski 55/100
Miller's Crossing 55/100

[Goffe]

I mean, it's well written and  performances are on point, but isn't every Coen film?

[IndustriousAngel]

The nicest thing about it, apart from ther comedy, is the way in which friendship gets treated... I mean, a friend can be a douche / asshole / whatever just as easy as anyone ... but still be a friend the next day , it's really not that different from relations.

[Blankments]

The Big Lebowski is a pretty enjoyable film. I'll admit that it didn't grab me as much as I expected it would, but I expect it to play better with rewatches. Bridges and Goodman are an excellent team, and the twisty plot is very enthralling, especially since, ironically, the characters lack much interest in it themselves. There's not much to say about The Big Lebowski since there's been so much said about it already. It's definitely a fun movie though, and one that's cult classic status is easily understandable. B+

[Webslinger]

I saw this one theatrically for the first time tonight. While I saw it at a different location tonight, I went to a cinema in March 1998 when this film was in its theatrical run - twice, actually! - but at seven years old, I wasn't exactly mature and sophisticated enough to learn that The Dude Abides or that bad things happen when you... erm... *find* a stranger in the *Alps*. (For those curious, the movies I saw across the hall from Lebowski in '98 were The Borrowers and The Education of Little Tree.)

 

What stands out on every repeat viewing is just how meticulous the Coens were in constructing every single frame and every single line of dialogue. It *seems* like a loopy, nonsensical comedy about nothing, and yet every single "uh," "um," "man," and "Dude" were scripted, all the most random moments in the film have foreshadowing that becomes crystal-clear on repeat viewings, the comic timing is impeccable, and Roger Deakins's cinematography is characteristically gorgeous. This movie practically seems like it was engineered specifically to be the kind of cult hit that film buffs, frat bros, and aging hippies alike would fawn over after its inevitable failure to make an impression on the mall multiplex patrons of its time, and it still holds up as a hilarious, quotable, and substantial genre-bending gem many years after the masses that originally rejected it came around to see its worth.