We just came through a pretty tumultuous year for movies, and for the media and the entertainment industry in general.
Yesterday I learned of Robert Altman’s death as I might have the passing of a relative: through a phone call from a friend.
And so we face another imponderable with the news that director Robert Altman has passed away at age 81.
Robert Altman’s disgruntled comedy only seems a relatively straightforward buddy film.
Nowhere near Robert Altman’s best, but we’re still lucky to have it.
Its opening credits are not an ordinary credits sequence, but a series of four short films that distill each season’s themes, goals, and motifs.
Where one film dramatizes and fulfills its own prophecy, the other ignores the apparition in the corner of the room.
The richness of Deadwood puts every other TV drama to shame.
Throughout, the graceful camera, the movement of characters, and the overlapping voices collectively convey a genial sense of place.
The picture and sound quality on all of the films is clean and clear with the exception of A Perfect Couple.
The Oscar telecast was generally well paced and well judged.
David Milch’s Deadwood is spiritual kin to Presbyterian Church in McCabe & Mrs. Miller.
Welcome to Robert Altman Blog-a-thon Weekend, in which criticism and commentary sites band together to pay homage to Altman.
There are as many participants in this thing as there are characters in an Altman movie.
Just pick a title or titles from Altman’s filmography, or some other vaguely or tangentially Altmaesque topic, and weigh in.
It’s a shame not to be able to hear such a strong critic week in and week out.
Slant‘s film editor ranks his favorite films from the silent era to the present.
Apparently, Robert “Hot Lips” Altman was ready to be reborn as Maya Deren.
The long-neglected middle child of art cinema’s triptych of psychodramas surrounding misplaced/mistaken/stolen female identities
The Company is about the creative process, but it’s also about weathering it.