May is waiting for her boyfriend in a run-down American motel, when an old flame turns up and threatens to undermine her efforts and drag her back into the life that she was running away from. The situation soon turns complicated.
Harry Dean Stanton
A fictionalized former President Richard M. Nixon offers a solitary, stream-of-consciousness reflection on his life and political career - and the "true" reasons for the Watergate scandal and his resignation.
This is an insane and fast-paced romantic comedy about a bizarre dinner date among Bruce (Goldblum) and Prudence (Hagerty), and their lunatic therapists, and Bruce's jealous, gun-wielding ... See full summary »
Robert Altman's jazz-scored film explores themes of love, crime, race, and politics in 1930s Kansas City. When Blondie O'Hara's husband, a petty thief, is captured by Seldom Seen and held ... See full summary »
Jennifer Jason Leigh,
The Disciples of James Dean meet up on the anniversary of his death and mull over their lives in the present and in flashback, revealing the truth behind their complicated lives. Who is the... See full summary »
A no account outlaw establishes his own particular brand of law and order and builds a town on the edges of civilization in this farcical western. With the aid of an old law text and ... See full summary »
The familiar tragic story of Vincent van Gogh is broadened by focusing as well on his brother Theodore, who helped support Vincent. The movie also provides a nice view of the locations which Vincent painted.
Buffalo Bill plans to put on his own Wild West sideshow, and Chief Sitting Bull has agreed to appear in it. However, Sitting Bull has his own hidden agenda, involving the President and General Custer. Written by
Jonathan Broxton <email@example.com>
In a style reminiscent of Wild West Show theater programs, in addition to the film's "Players" list, which also similarly had previously been published on the picture's pre-production publicity sheet, the film's opening credits declared: "The Deadwood Stage, hundreds of Brave Cowboys, fierce Indians, wild Buffalo, bucking Broncs, and Original Show Music by Richard Baskin played by Buffalo Bill's Cowboy Band, &c.!". See more »
Sitting Bull joined Cody's show in 1885. The performing arena shows several Wyoming state flags, but Wyoming wasn't granted statehood until 1890, and that flag wasn't adopted until 1917. See more »
Come here, Mr. Buntline! Come over here and look at Sitting Bull! The son-of-a-bitch must be seven feet tall!
He's getting smaller every year.
See more »
Robert Altman's Absolutely Unique and Heroic Enterprise of Inimitable Lustrel See more »
another Altman de-mythological exploration mixed with show-biz satire, but it's very underrated with a great Newman performance
A lot of reviews on this site keep this down as something of a misfire from director Robert Altman, that it might have been too easy a target or that it's being too cynical. Can there be enough cynicism in looking at the history of Old-West Americans and American Indians? After so many years of Westerns showing things as black and white- of John Wayne Vs. Tonto and the like- there needed to be a good dose of reality, but not just by any run of the mill filmmaker. Altman is able to sympathize with the Indians while at the same time adding a certain mystery to them (how they cross the river, come back from the mountains). On top of this he makes a very strong, funny comment on celebrity and mythology in a somewhat typical de-mythological style. It's not entirely an anti-centennial statement (his real centennial movie is Nashville), but one that criticizes things while still staying true as a semi-serious comedy.
In fact, this has a few of the funniest scenes in any Altman picture. Take when Annie Oakley (Geraldine Chaplin) is performing her 'stunt' with her partner, and throughout the picture it's been a dicey and tense act with it never being as clear-cut as it should be; Annie is always talking to herself in mid-shot, asking to try it again if she misses. Then when it comes time to do the 'stunt' in front of President Cleveland, she shoots her partner right through the shoulder, with it (mostly) being passed off like nothing happened. Little asides like this that build up- or, for example, a hatred for birds that inexplicably Bill has against the cheery German singer who owns it, leading up to a frantic shoot-em-up against the bird's cage until it escapes. Sometimes it's simply "funny ho-ho" humor, the kind that one might have a quick chuckle and then see back to what's going on. But it's brilliant "funny ho-ho" comedy, where manners are tested to the extremes in the face of Buffalo Bill's troupe and the unmovable Sitting Bull and his 'voice' played by Chief from One Flew Over the Cuckoo's Nest.
There is actually something of a firmer story for Altman than usual, though that goes without saying it's like a belt thrown on once in a while with a pair of pants. Buffalo Bill is riding on his reputation, and hosts a big-time show that is a good lot like the circus only real physical prowess and weirdness replaced usually by good-old-fashioned American storytelling, which is, basically, that Indians killed a lot of people and then Buffalo Bill struck back. When Sitting Bull actually comes to the act to be apart of it, he has some conditions to be in it, *many* conditions, some easy (i.e. setting up camp across the river), some that test Bill's patience (i.e. changing the whole story of Sitting Bull to show Bill killing masses of Indians). Meanwhile, President Cleveland is coming for a special visit, Bill's drinking gets bigger, and he loses the thread of his own presumed skills like when he can't bring back Sitting Bull and his group when the "escape" to the mountains.
This all leads up to a conclusion that has a double-side to it. On the one hand the very end should feel kind of conventional, where Buffalo Bill faces off against Sitting Bull (or rather another actor playing him), and 'wins' in front of the cheering audience. On the other hand this is preceded by a tragic note, and a very strange, near perfect dream scene where Buffalo Bill confronts and constantly shifting-position Sitting Bull, confronting him as well as his own ego and reputation. At the end of it all, Altman isn't saying outright America is evil or anything; it's that there are some serious wounds caused not simply by the obvious Americans vs Indians but by over a century of holding up icons to the sky without the slightest gray area or real humanization past superhero status. And in the midst of all this, in the work of Altman's usual good ensemble (Keitel, Joel Grey, Chaplin are very good, Lancaster good if in a superfluous mouth-piece role), Paul Newmna shines incredibly in a role that requires him to be star-like but to also get into the shallowness and inner demons of the character. It might even be one of the best performances he gave in his career: he's magnetic in personality, naturally comic, and haunted to a degree. A-
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