A family heads to an isolated hotel for the winter where an evil and spiritual presence influences the father into violence, while his psychic son sees horrific forebodings from the past and of the future.
In future Britain, Alex DeLarge, a charismatic and psycopath delinquent, who likes to practice crimes and ultra-violence with his gang, is jailed and volunteers for an experimental aversion therapy developed by the government in an effort to solve society's crime problem - but not all goes according to plan.
When "The Dude" Lebowski is mistaken for a millionaire Lebowski, two thugs urinate on his rug to coerce him into paying a debt he knows nothing about. While attempting to gain recompense for the ruined rug from his wealthy counterpart, he accepts a one-time job with high pay-off. He enlists the help of his bowling buddy, Walter, a gun-toting Jewish-convert with anger issues. Deception leads to more trouble, and it soon seems that everyone from porn empire tycoons to nihilists want something from The Dude. Written by
Nearly all of the visible symbols in The Dude's second dream sequence are taken from earlier scenes: The initial scene of The Dude's exaggerated walking while casting a big shadow is similar to his landlord's interpretive dance to "Pictures at an Exhibition"; the black and white tiled floor is seen earlier in the Big Lebowski's entry way when The Dude walks with Brandt, and again at the end; the tool belt and workman outfit The Dude is seen wearing is identical to the one worn by Karl Hungus (Peter Stormare) in Logjammin'; Saddam Hussein, who is standing behind the counter, is mentioned briefly by Walter in the car outside the bowling alley, we hear George Bush Sr. comment on the Iraqi invasion of Kuwait, and in the opening credits, we see a man looking a bit similar to Saddam spraying the bowling shoes at the alley; Maude's gold bowling ball bra cups are taken from bowling balls seen on the rack behind Walter in an earlier scene at the bowling alley; Maude Lebowski's trident is from a statue at The Big Lebowski's home; the red-on-black bowling ball is the same as the one in the earlier dream sequence and is also visible on the rack behind Walter and The Dude at the bowling alley; the topless girl falling through a black frame is almost the same shot that opened the scene in which the Dude shows up at Jackie Treehorn's party; the scissors wielded by the red-clad Nihilists are seen in a painting with a red background on Maude's wall. See more »
After Walter throws the ringer out the car window over the wooden bridge, he
bales out of the car at 15 MPH and lands on the asphalt. As the Dude transitions to the driver's seat, he crashes the car into a telephone pole. In the cut shot from the car back to the bridge, the three nihilists are seen speeding off over the bridge on their motorcycles in the opposite direction. Walter is nowhere to be seen although he should be lying there in the road between the car and the bridge. In the next shot from the bridge, Walter rises from the pavement in the left lane where he landed as the Dude runs toward the bridge shouting "We have it." See more »
Way out west there was this fella... fella I wanna tell ya about. Fella by the name of Jeff Lebowski. At least that was the handle his loving parents gave him, but he never had much use for it himself. Mr. Lebowski, he called himself "The Dude". Now, "Dude" - that's a name no one would self-apply where I come from. But then there was a lot about the Dude that didn't make a whole lot of sense. And a lot about where he lived, likewise. But then again, maybe that's why I ...
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No movie has entertained me more in the last year than this film. It's delightfully written, directed with poise and acted with extravagance and excellence. I do admit that this is a film that I had to see six times to get. Every time I watch it I learn something new. The genius of the film lies within a game I think the Coen brothers play with their audiences. There are the touches of the masters in many of their films. In "The Hudsucker Proxy," it was Preston Sturges and Frank Capra. In "Raising Arizona," I felt a touch of Sam Fuller. In this film, I felt many touches of greatness, but more specifically I felt John Sayles or even John Cassevettes in spots. The camera was manipulated beautifully and I felt a tinge of their talents lurking in at many a turn. The performances are astounding, especially Goodman as the deranged bowler still living deep within the jungles of the Vietcong. Huddleston is also quite wonderful as the title character. Turturro gives a fine cameo as "Jesus," coupled with a rousing and humurous version of the Eagles, "Hotel California," done in Espanol. I hope this is a film that is looked at with more seriousness. It is, once you dig deep, a fine piece of filmmaking.
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