The Big Lebowski
The Coen Brothers have some of the best writing in Hollywood, but nothing tops their characters. There’s Tommy, the man who sold his soul to the devil to play the guitar in O Brother, Where Art Thou? Or Carl Showalter in Fargo, bagging up his wife in a sloppy ransom deal. Eccentrics and weirdos are the Coens’ forte, and The Big Lebowski is one giant weird party. A fashionista imitating Yoko Ono, Jesus the bowling god, and–of course–the nihilists, a wild goose chase quickly devolves into a roll call of misfits and outcasts.
There’s charm, wit and turns to tie Lebowski with the socialites, the pornographers, and yep, the nihilists. Trippy dream sequences and bowling alleys, The Big Lebowski bounces between the drab and surreal with style–and consistency, thanks to the Coens’ direct front-and-center shots that emphasize power and immediacy. A bowling ball right at the screen goes a long way in delivering impact.