Review of The Big Lebowski (1998) by Daphne Merkin for The New Yorker — 17 Jul 2010
The clever dialogue, seductive camera work, and beautiful production design (the lavish dream sequences look like Busby Berkeley on Ecstasy) almost make you forget the vacancy at the movie's core, but in the end there's no escaping the feeling that the Coens are speaking a secret language.
You can read the full review where it was originally posted online.
This review of The Big Lebowski (1998) was written by Daphne Merkin and published by The New Yorker on 17 Jul 2010.
The Big Lebowski has generally received very positive reviews.
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