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20 Years Later: Aggression Will Not Stand in ‘The Big Lebowski’

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“The man in me will hide sometimes to keep from being seen
That’s just because he doesn’t want to turn into some machine”

All the Dude ever wanted was his rug back. The Coen Brothers’ finest achievement in comedy is a movie with low stakes, no real resolution, and one of the laziest protagonists in film: The Big Lebowski. Set during the 1991 Gulf War, The Dude is not only the most defining character Jeff Bridges ever portrayed, but the film also pushed a movement towards pacifism by contrasting him against aggressive people. The Big Lebowski embraces the ideas of individuality in the face of conflict, and sees how different external forces can cause a different outcome — even if all you really want is your rug.

The Dude is not a man of action. As The Big Lebowski (who shares the same name as The Dude — Jeffrey Lebowski) gives a lecture, The Dude’s response is a casual “Fuck it.” It’s his response to everything — except maybe in his own home, where his rug was micturated upon.  While he does tell Walter (John Goodman), his best friend, to leave him alone because he keeps making things worse, he eventually concedes that he’ll still be at the bowling match before hanging up. While he does nail a board into his own floor in order to deter future intruders, a later scene depicts his plan as basically a half-hearted attempt.The Big Lebowski

In other words, The Dude has ample opportunity to change his fate, but rarely does. Perhaps he believes fighting back will result in a change of the status quo for him, something he clearly values. His home was his safe place, and so he ends up trying to keep people out of it so that it stays that way. Unfortunately, when he finally gets back after visiting Jackie Treehorn (Ben Gazzara), he trips on his own trap and finds Maude inside. Nowhere is safe for the Dude. When he goes bowling later — his other safe haven — he, Walter, and Donny (Steve Buscemi) are confronted by the Nihilists, who they then must fight due to Walter’s actions, resulting in Donny’s death from a heart attack.

The Dude is a pacifist; he believes that violence just begets greater violence. The Nihilists believe in nothing. But then there’s Walter. Ultimately, the only reason The Dude is in this whole situation is because of Walter’s advice to hold The Big Lebowski accountable for The Dude’s rug being peed on, since the “carpet pissers” had intended to urinate on The Big Lebowski’s rug. The Dude was just going to vent, but he wasn’t actually going do anything about it until Walter pushed him to do so. Walter is aggressive (e.g., bringing an Uzi to a simple drop ff), and serves as a metaphor for the aggression by the United States in the then-current Gulf War.

A catalyst for everything that goes wrong in the movie, Walter’s aggression stems from his past time in Vietnam — another war where US intervention is considered unjustified and left many Americans who went there either killed or subject to PTSD (Post-Traumatic Stress Disorder). Ironically, he talks about drawing a “line in the sand” that should never be crossed, but he himself always crosses that line, and it forces The Dude into a worse situation.

It’s odd that The Big Lebowski is seen as a cult classic now, but also as one of the “lighter” Coen Brothers works. Putting it next to something like Inside Llewyn Davis and No Country For Old Men, it of course will come up as “light.” The film is a by-product of being a comedy of errors, with characters who are all heightened versions of people that would be more subtly portrayed by anyone else. But its recreational use of drugs, great soundtrack, and constant yelling from Walter are not the only things that have made it a classic — The Big Lebowski is so layered that you cannot catch everything at first glance. Having seen the film multiple times, often I find myself watching it in different ways, even getting enjoyment out of just watching Donny in the background, emoting to conversations between Walter and The Dude.

Still, I would go so far as to argue that the biggest draw of The Big Lebowski has become The Dude’s mantra: “The Dude abides.” He goes with the flow, including not being able to stop Walter when he interrupts that flow. Once things are in motion, war is an unrelenting machine. Echoes of Bob Dylan’s “The Man in Me” reverberate throughout all of The Dude’s interactions and the film itself, as The Dude tries to just exist under the radar (“…hide sometimes to keep from being seen”), avoid his way of life being threatened (‘Storm clouds are raging all around my door”), and keep happy by simple mean (“…as for compensation, there’s little he would ask”). The Dude maintains a pacifist mindset because it keeps his lifestyle low-key.

The Big Lebowski

In times like now when we see aggression all around us, The Big Lebowski has taken on such a larger importance. Twenty years later, I don’t think anyone could imagine The Dude being as prolific as he is, but it’s because he represents simplicity and peacefulness. Sam Elliot’s The Stranger concludes the film with a perfect summation: “’The Dude abides’. Dunno about you, but I take comfort in those words. It’s good knowin’ he’s out there […] Takin’ ‘er easy for all us sinners.”

Chris is a graduate of Communications from Simon Fraser University and resides in Toronto, Ontario. His favorite films include The Big Lebowski, The Raid 2, Alien, and The Thing. You will often find him with a drink in his hand yelling about movies.

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‘Uncut Gems’ Sends Adam Sandler Through the Ringer

The Safdie Brothers have crafted a hectic, abrasive crime thriller that revels in its misery.

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Uncut Gems

The Safdie Brothers have followed up their grimy, abrasive Good Time with a film that never quite reaches those levels of tension, but is nevertheless cut from the same cloth. With Uncut Gems, the directing duo has crafted something so loud and chaotic — led by a perfectly-cast Adam Sandler — that there is no denying it’s a fun ride, even when it is not so fun to watch. Digging through the grit of loan sharks and a dog-eat-dog world, Uncut Gems is another bonafide hit by the Safdie brothers, but one that works when it piles on the misery — which it often does, rather than find a shred of happiness.

Evading debt collectors throughout New York City, Howard (Sandler) runs a jewelry shop in the Diamond District where he sells to many high-profile celebrities. When a new opal arrives at his shop from Ethiopia, he can’t help but show it off to Boston Celtics player Kevin Garnett (who stars as himself in a fun role that never feels out-of-place), who becomes obsessed with the rock and borrows it with the hope of eventually convincing Howard to let him buy it. Of course, Howard has other plans, as the rock is allegedly worth a million dollars if sold at an auction in which he has already purchased a spot. When Garnett doesn’t return the stone, everything starts going horribly awry in Howard’s life as he juggles a failing marriage, his Jewish family ties, and keeping the loan sharks at bay.

Right out of the gate, Daniel Lopatin (Oneohtrix Point Never) hits the ground hard with a score that carries the cosmic and reverberating effects of the titular uncut gems. When Garnett stares into the opal, he sees exactly what Howard tells him he’s supposed to see: the universe. In that, Lopatin provides a sonic scape so expansive and yet violently singular in its aesthetic that it provides much of Uncut Gems with a mystical aura. Drenched in gritty camerawork that gets up close to show the blemishes of everyone, there’s no denying the film’s mean and potent intensity.

Where Uncut Gems often stumbles is in its narrative threads. While the Garnett storyline weaves in and out, providing a lot of fun as well as hectic tension, it’s a piece of stunt casting that works, while also highlighting one that very clearly doesn’t involve R&B singer The Weekend. Why he is in the movie is baffling, other than perhaps because he evokes a further sense that Howard is in a very upscale world — something we already know by his clientele, multiple properties, and the wealth he actually wears. The Weekend ends up as a weird diversion that can take viewers out of the experience, even if his presence does lead to a further escalation in problems for Howard.

That all being said, Uncut Gems also brings Adam Sandler back into the fold as an actor who can do more than the drivel he has churned out over the decades. More evocative of his performance in Punch-Drunk Love than The Meyerowitz Stories, Sandler gives a comedic and sympathetic performance to a character for whom everything suddenly goes wrong. Living a manic, fast-paced lifestyle, Howard is impatient, aggressive, and greedy, but Sandler makes it possible to get on board with his plight at least partially (there is no way to be on his side completely). His vices are many, but the performance keeps him down to Earth even when it feels like everything is flying off the hinges.

There will likely be many that can’t get past how dirty this movie feels, as it treats many criminal activities as both simply the way things are and the way they always will be. Beyond that, however, the Safdie Brothers provide a nuanced look at Jewish culture, utilizing one of Hollywood’s most prolific Jewish actors, and treat it is as matter-of-fact. Uncut Gems is a frenetic crime film from a Jewish perspective and delivers on its promise of being a wild ride with a phenomenal Sandler performance. Just don’t expect there to be much hope present, as the Safdies revel in the misery as much as humanly possible, only using hope as a torture device to make the anguish all the more painful.

Editor’s Note: This article was originally published on September 14, 2019, as part of our coverage of the Toronto International Film Festival.

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The Best Movie Trailers of 2019

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Best Movie Trailers 2019

They exist to sell a product, but there’s also something about movie trailers that inspires certain ticket buyers to get to the theater early: the promise of movie magic. Before we have a chance to be disappointed by their final products, the best trailers are constructed to show off endless potential — the suggestion that audiences are in for an amazing cinematic treat. Of course, it doesn’t always work out that way, but there’s nothing better than being seduced — and for a few moments, that’s exactly what the best movie trailers of 2019 do. Below are some of my favorites from the past year.

Smarmy Murder

Knives Out

Rian Johnson’s followup to The Last Jedi seems to have found a safer home for the director’s irreverence (I’m not aware of any diehard murder-mystery fans, at least), and it’s trailers have been free to lean heavily into that twisted playfulness. If you’ve gone to a theater in the last three months, it’s been hard to avoid seeing this one a million times (including at times as an ad before the previews), but the relentlessly snappy pacing, ironic edits, and pervasive shots of actors hamming it up really drive home that Knives Out is looking to be a wickedly fun romp. Whether it succeeds or not, there’s no question that the trailer makes me want it to. 

Ready or Not

This one hits more traditional beats when it comes to unspooling its gleefully barbarous premise, and knows just how to mix the tension with the violence with the cheeky one-liners. But it’s the use of The Righteous Brothers’ “Unchained Melody” that really pushes this trailer over the top, as the song works brilliantly for both magnifying the drama during the screaming moments, and providing an excellent contrast between its blatant romantic sincerity and the sarcastic amorality of this bizarre predicament. Also, Henry Czerny.

The Hunt

This one’s a bit more subtle about its dark comedy, but there’s no question that there are plenty of smirks lurking just below the surface of this premise. A cabal of elitists hunting a bunch of backwoods yokels for sport is the kind of satiric setup that has potential for real bite (enough to get the film’s release indefinitely delayed, apparently), and this trailer does a great job of playing that element up, suggesting a more brutal and sardonic version of The Hunger Games. The tired look on Betty Gilpin’s face as she moseys down train tracks or calmly drives over someone’s head showcases a low-key humor that hopefully is reflected in the final product. Fingers crossed that The Hunt eventually sees the dark of theaters.

Moody, Mysterious Spooks

Midsommar

There’s always something refreshing about a horror story that takes place in the daylight, and the trailer for Midsommar appeals perfectly to this sentiment. Plucky strings, tribal drum beats, and plenty of off-kilter camera angles help set the creepy stage for a relationship problem that is about to manifest itself in a physical problem, but one that is smartly only hinted at. The bright, lush environment and comforting tradition initially draws you in (like any good cult would hope), but exactly what’s in store for this young woman and her companions? Flashes of gore and deformity near the end are what linger, even after a sunny visual finale. Very enticing.

The Lighthouse

It’s possible that this trailer could have just consisted of nothing but the weather-worn faces of Robert Pattinson and Willem Dafoe staring back at the audience, punctuated by the droning bellow of the fog horn, and that might have been enough to sell people on this thing. Of course, what follows is a stark, visual feast that also does a masterful job at dropping clues as to the possible supernatural mystery, but layering them in the potential madness. Dark, ominous trappings are slathered on as thick as the sea-faring accents, giving off an old-fashioned horror vibe. Despite a deep dislike for the actual film, I could watch this trailer forever, and dream of what else could have lurked out on that lonely island.

If Only They Lost the Song

1917

Bolstered by gorgeous images courtesy of the great Roger Deakins (whose sumptuous cinematography can only help no matter what it’s in), this trailer does a masterful job at communicating to audiences just what a nail-biter this WWI story promises to be. Starting out with an innocuous shot of two soldiers lazing beneath a tree, and ending with one of them dodging explosions, the tension is meticulously built step by step, gunshot by gunshot…until a sappy, tone-deaf song called “Wayfaring Stranger” cuts in halfway through and tries to ruin everything with hammy emotional telegraphing. It’s a curious choice, as the textured, frank visuals and dialogue don’t otherwise give off a manipulative vibe. Still, there is stirring power in that imagery, enough to make me want to see more. Just…save the song for the end credits, please.

What. The. Hell.

Bird Talk

It’s generally not desirable to feel even slightly repulsed after viewing a movie trailer, but I have to confess that the bizarre images here are cut together in a way that doesn’t quite agree with me. So why is it good? Because that seems to be exactly the sort of note Xawery Zulawski’s film is trying to hit, with its disorienting fish-eye lenswork and indecipherable depictions of what seems like general depravity, even if I can’t point to exactly why. Even the special effect for that weird flaming car looks wonky and nightmarish. Not every film has to be pleasant to work, and neither does a trailer; Bird Talk looks intense and intriguing and indecipherable, and that’s good enough for me.

Pleading For Attention (and Actually Getting It)

Joker

Every year there are trailers for movies that desperately want to be taken seriously as films, and I’m not sure there was a better example of that in 2019 than Joker. With its gritty, scum-on-the-lens look, an early burst of cruelty, and use of Jimmy Durante’s “Smile” to lay the irony on thick, there’s no question of this promo distancing the final product from traditional ‘comic book’ movies. There’s also no question that the trailer does a magnificent job at showcasing the film’s best element: a writhing, tortured, smirking, dancing, on-the-edge Joaqin Phoenix. While it’s debatable whether Joker itself ultimately deserved all the attention, putting Phoenix’s performance front and center in the trailer was the best way to get it.

The Cream of the Trailer Crop

Richard Jewell

This is a fantastic example of how to communicate an overall old-fashioned approach to sharp storytelling, yet break up the standard formula with well-timed asides. The premise and protagonist are firmly established through standard trailer character development, but it’s the interspersing of those chilling interrogation scenes that really drive the point home and solidify the character as supremely sympathetic. The soft piano notes are joined by a growing orchestra, the frequency of these inserts picks up as the blatant railroading intensifies, and by the time the crescendo hits, the trailer has told a story that we want to see a resolution to — and that subtle nod suggests it’s going to be a very, very satisfying one.

Once Upon a Time in Hollywood

Almost a mini-movie in itself, the trailer for Once Upon a Time in Hollywood spans the range of emotional beats found in the film it’s cut from, roughly (and impressively) in the same order, all while cementing the unmistakable tone of the film’s creator. What’s being sold here is exactly what audiences are going to get, and that’s a sprawling Hollywood epic filled with sharp dialogue, offbeat B-movie/TV show asides, and a undercurrent of a looming, horrific incident that will come to a head in the last reel. An aging cowboy, a loyal sidekick, a radiant princess, and a creepily smiling ogre are set in a neon fantasy land full of make believe, where dreams (and sometimes nightmares) come true. It’s a primer for a magical fairy tale, and also the most complete, all-encompassing, masterful trailer of the year.

***

Of course, these are just my picks for the best trailers of 2019 — what are yours?

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70 Best Movie Posters of 2019

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Best Movie Posters of 2019

Deciding the best movie posters is no easy task…

I remember when I was younger, I used to head to the video store and rent movies I’d never heard of based solely on the movie poster art. This was, of course, a different time— sure, the internet was a thing, but we didn’t have countless websites, not to mention social media platforms, promoting new movies online with news stories, movie stills, featurettes, teasers, trailers and so on. Not to say that sort of marketing didn’t exist in the past, because it did, but it wasn’t always in your face. For better or for worse, the internet changed the way studios market movies, but one thing that hasn’t changed is the use of a poster to help build excitement and anticipation for an upcoming film. Most posters continue to be an important marketing tool for filmmakers worldwide and so once again, we’ve decided to collect images of our favourite movie posters revealed over the past twelve months. If you checked out our list of the best movie posters of 2018, you’ll remember it included posters for indie gems, thrillers, horror movies, foreign language films, Hollywood blockbusters and everything in between. This year is no different, although it should be said that some marketing campaigns were so good, we’ve decided to include more than one poster for a few select films. Also worth noting, we didn’t include any fan-made poster art below. That out of the way, here are the best movie posters of 2019.

Click on any one of the images to enlarge the posters.

The Best Movie Posters of 2019

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