Creating this fantasy Sight & Sound ballot felt as much like excavation as photography.
I’m a compulsive. It’s no surprise that my list is full of movies about compulsion.
Atlan’s black-and-white Mortem has been billed as a “metaphysical thriller” inspired by David Lynch and Ingmar Bergman.
If you’ve ever wanted to take the plunge into the deep end of Altman’s brainpan, Criterion’s impeccable Blu-ray presents the ideal jumping-off point.
The film arrives on Blu-ray with a befittingly humble and loving audio and visual transfer.
Pulled from the Warner archives without any restoration, the disc boasts a surprisingly robust image.
Robert Altman’s Nashville is one of those rare films that feels more timely, more relevant, the more time goes by.
Mid-level Altman from the forgotten ’80s, a period that ought not to be forgotten entirely.
Altman imagines the army barracks as a hothouse environment where tensions and fears play out in oddly manic outburst.
I’m not sure how Mulholland Drive would look to me now that this decade is ending.
For better or worse, it stands testament to the fact that at least one segment of the counterculture had no place for women.
M*A*S*H is a good dint lower than its reputation.
At this point on the chronometer of pop culture, better to just come clean.
Their work in the 1970s exemplifies what ultimately became the prevailing style of American film direction in that era.
For nearly a decade, I’ve felt a certain allegiance to Robert Altman’s Short Cuts, and I’d never seen a single frame of it.
There are, in this 158-minute film, a few effects, mainly photographic, that go right.
Altman shows sensitivity to his outsiders, without false sentiment or even commentary.
The world of Thieves Like Us is beautiful and strange, in all its stunning everydayness.
The film is simultaneously an act of revisionism as well as a parody of then-revitalizing neo-noir.
Political satires are plentiful, but I didn’t want to get overloaded with them so many worthy films missed the cut.