To triple dip or to wait? That is the question facing Dude-loving fans of the Coen Brothers' cracked comedy The Big Lebowski, which is due out on September 9 in a Tenth Anniversary Edition from Universal Home Video. Jeff Bridges, John Goodman, John Turturro, Steve Buscemi, and Julianne Moore star. The announcement was made without details on bonus features; DVD Active has now posted pictures of the menu screens, so we know what's new.

The Big Lebowski was initially released on DVD in 1998, and then was remastered for the 2005 Collectors' Edition. That edition included a "making of" feature, photos by Jeff Bridges, and a brief, jokey introduction. Those extras were included on the HD-DVD edition, released in June 2007 (and reviewed at High-Def Digest). The Tenth Anniversary Edition features those extras plus more: "The Dude's Life," "The Dude Abides: The Big Lebowski Ten Years Later," production notes, theatrical trailer, "The Lebowski Fest: An Achiever's Story," "Flying Carpets and Bowling Pin Dreams: The Dream Sequences of the Dude," interactive map, and photo gallery.

A standard Tenth Anniversary Edition will reportedly retail for $19.98, while a Limited Edition "in special bowling ball packaging" (pictured) will also be available. No news on a Blu-ray edition, though, so the question remains: will you triple dip or wait for Blu-ray? Or will you roll this sucker into your alley? The Dude wants to know.

The consensus I've gotten from people after they've seen the red-band trailer for the Coen brothers' Burn After Reading is that nobody understands what it's about, and nobody cares, because everybody thinks it looks awesome. Well, if you thought that trailer was confusing, or at least lacking in plot synopsis, just imagine how moviegoers outside the U.S. feel after seeing this new international trailer.

As you can see, marketing to international audiences is more about selling the stars. Hence the CLOONEY, the McDORMAND, the MALKOVICH, the SWINTON and the PITT titles. As for story, there's even less revealed here than in the red-band trailer. In fact, it's almost a joke how little is said about the movie. Each actor/character maybe gets to slip in one or two words, which actually just serve as response to more intertitles telling us about the other major stars of the film: the Coens.

At a Cannes press conference for his WWII drama The Miracle at St. Anna, controversy hog Spike Lee took some swipes at Hollywood darlings Clint Eastwood and the Coen Brothers. Talking about the way he treated death in his first war film, Lee said: "I always treat life and death with respect, but most people don't... Look, I love the Coen brothers; we all studied at NYU. But they treat life like a joke. Ha ha ha. A joke. It's like, 'Look how they killed that guy! Look how blood squirts out the side of his head!' I see things different than that." And he targeted Eastwood for failing to put any black soldiers on screen in Flags of Our Fathers and Letters from Iwo Jima: "If you reporters had any balls you'd ask him why. There's no way I know why he did that -- that was his vision, not mine. But I know it was pointed out to him and that he could have changed it. It's not like he didn't know."

As Jack Handey put it, "It takes a big man to laugh at himself, but it takes an even bigger man to laugh at that man." Crimewave is about that big kind of man, and his partner: two electrocutioners on a rampage. They prowl the streets in a truck with a hog-sized stuffed rat on top, with red light bulb eyes. The driver is Faron Crush, who looks like Paul Sorvino playing the Incredible Hulk. HIs sniggering partner Arthur (Brion "I'll tell you about my mother" James) wears a jumpsuit, fingerless leather gloves, and a flat leather cap the shape and color of a cow-chip. If you ever had a nightmare about Gallagher, that's what Arthur looks like. The two maniacs carry with them "a shocker," a killing-machine that has three settings: "Rat," "Man" and "Hero". And they have no motivation beside malice and sheer professionalism.

A few months ago, it snowed. In the spirit of manifesting your own reality and the perks of positivity, I stomached any ill feelings. In fact, I welcomed the white landscape with open arms, determined to look on the bright side of life. It was a nice change. I made and threw some snowballs, and I smiled through the first few dumpings of snow. Then the snow kept coming -- in record-breaking amounts. Months went by. Now, tonight and tomorrow, my neighborhood is set to get another foot. Good God, this is enough!

I've learned my lesson: never welcome the snow, because the first year you do, the snow will slam into you over and over again for months -- laughing at your positive idiocy while it torments you with sadistic, stinging snowflakes. Now tonight, as I curl up in the safety of my apartment, I could watch some sort of tropical films, but that would just make me angry. Once you get to a certain point, the weather you dream of is more of a low-blow taunt than a nice escape. So, I'm going to give you two films laden with snow, but with enough bad vibes to make a simple, snow-covered night not so bad. I am, of course, talking about Fargo and The Sweet Hereafter.

With No Country For Old Men coming to DVD next Tuesday (3/11) in the final paces of the film's victory lap, it seems like a good time to note that when one of the film's Oscars went to Best Supporting Actor Javier Bardem, it came as the logical conclusion of a long-established fact for many Coen watchers: the brothers have a Midas touch when it comes to supporting parts -- writing them, casting them, directing them. Throughout their career, the writing-directing duo of Joel and Ethan Coen have always peppered their films with brief, brisk parts that both famous and lesser-known actors have turned into standout moments. Here, then, is a list of seven truly great Coen Brothers supporting parts, as well as runners-up from each film. As ever, these lists are highly subjective, and our comments section below awaits your thoughts. ...

1. The Dane (J.E. Freeman), Miller's Crossing

In Miller's Crossing (for my money, the the most overlooked and under-appreciated film in the Coen canon) the brothers pull a balancing act; they not only refuse, refute and re-invent gangster film styles, plots and archetypes, but they also freshen, fire up and fulfill those gangster film styles, plots and archetypes. So it is with J.E. Freeman's Eddie Dane, a fearsome tough guy whose simple, shark-like capacity for murder and mayhem drives the plot and whose complicated private life adds a few twists to the finale. Much is made of John Turturro's work in this film (as it should be) but it's The Dane who keeps sticking out in my mind whenever I re-visit Miller's Crossing, a small, self-contained example of why the film as a whole is so good.

(Runners-up: Bernie Bernbaum (John Turturro), Vera Bernbaum (Marcia Gay Harden) and Johnny Caspar (Jon Polito).

Finally Josh Brolin received an award for his excellent performance in No Country for Old Men. He and the rest of the film's actors won the Screen Actors Guild Award for best ensemble cast Sunday night, giving No Country its second big win of the weekend (Joel and Ethan Coen received the top Directors Guild of America award Saturday). Along with Brolin, trophies went to cast-mates Tommy Lee Jones, Woody Harrelson, Garret Dilahunt, Tess Harper and Javier Bardem, who also won the SAG award for best supporting actor. While I'm not sure how many of No Country's performers actually received their own trophy, I'm hoping that both Kelly Macdonald and Barry Corbin were also included. No Country is one of those movies that wouldn't be the same without all of its main and supporting actors, and it is certainly fitting for it to have picked up this honor.

Other film winners from Sunday night include Daniel Day-Lewis, who surprised no one by being honored with the leading actor trophy. Even I'm getting a little bored with all of his awards, despite my agreement that his is the best performance of the year. I didn't even notice if any of the other nominees (George, Emile, Viggo and Ryan) showed up to the ceremony, which was one of the first red carpet awards events of the season. Picking up the award for leading actress was Julie Christie, further cementing the fact that I really need to see Away From Her already. The supporting actress honor went to Ruby Dee, who deserves it just for being the cutest old lady on screen last year, let alone for going up strong against both Denzel and Brolin in American Gangster. Finally, The Bourne Ultimatum won the new SAG award for best stunt ensemble and Charles Durning -- one of Cinematical's favorite character actors ever -- received a lifetime achievement award. Be sure to check out Moviefone's coverage of the awards for plenty of red carpet and ceremony photos.

Best Screenplay

Nominees:

Diablo Cody -- Juno

Joel & Ethan Coen -- No Country for Old Men

Christopher Hampton -- Atonement

Ronald Harwood -- The Diving Bell and the Butterfly

Aaron Sorkin -- Charlie Wilson's War

Predicted Winner: Diablo Cody -- Juno

Often, it's not the finest writing that wins the screenplay award, it's the flashiest. Cinematical doesn't think Globe voters will be able to pass up Diablo Cody's hyper-verbose, show-offy script, chock full of memorable one-liners and quotable dialogue. Plus, Hollywood just can't get enough of her stripper-turned-screenwriter tale. Juno what I'm saying?

Now it's your turn to vote ...

Best Director

Nominees:

Tim Burton -- Sweeney Todd: The Demon Barber of Fleet Street

Ethan and Joel Coen -- No Country for Old Men

Julian Schnabel -- The Diving Bell and the Butterfly

Ridley Scott -- American Gangster

Joe Wright -- Atonement

Predicted Winner: Ethan and Joel Coen

No Country for Old Men could go on to win Best Director at the Oscars, but unlike the Academy, the Hollywood Foreign Press will actually recognize both of the Coen Brothers. Everyone knows that Ethan and Joel co-direct their films, but due to Director's Guild and Academy rules, only Joel is allowed credit for them. Therefore their win of the Golden Globe for Best Director will be the better honor. And boy do they deserve it! With No Country, they've delivered a stunning film that exemplifies the two major dimensions of the craft: visual storytelling and management of the acting performances.

Now it's your turn to vote ...

The Director's Guild has announced their five nominees for best director of 2007, and they are: Ethan and Joel Coen for No Country for Old Men; Tony Gilroy for Michael Clayton; Paul Thomas Anderson for There Will Be Blood; Julian Schnabel for The Diving Bell and the Butterfly; and Sean Penn for Into the Wild. For those of you paying attention to the major kudos, that's two different directors than the Hollywood Foreign Press nominated for the Golden Globes. Rather than recognizing Atonement director Joe Wright or American Gangster director Ridley Scott, the Guild has gone with Anderson and Penn.

So, which grouping will be closest to the Oscars? Who cares? I hate that with every announcement about non-Academy-related awards we get a statement like "since ____, only _____ winners have failed to claim the Oscar ... " Well, the fact that there is some divergence means there is no predicting who will get the Oscar nominations, let along the award. So, let's just appreciate the Director's Guild Awards for what they are. That said, I haven't seen all the films (I'm actually about to head out the door to finally catch There Will Be Blood), so I can't fairly pick my favorite. In fact, two of the nominated films that I have seen are so different in style that it's quite difficult for me to decide which I think is more deserving of this honor. Ultimately, despite the fact that I greatly admired Schabel's ability to make a first-person POV-shot engaging throughout the majority of his film, I'd have to go with the Coen Brothers. Except for that one controversial shot, I think they gave us the best visual storytelling of the year and I also think that they managed to get some of the most amazing performances of the year from their actors. However, my mind could easily change in about an hour when I sit down in front of the work of Paul Thomas Anderson. The winner will be announced on January 26.