Two convicts break out of Mississippi State Penitentiary in 1936 to join a third on a long spree of bank robbing, their special talent and claim to fame. The youngest of the three falls in ... 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,
O.C. and Stiggs aren't your average unhappy teenagers. They not only despise their suburban surroundings, they plot against it. They seek revenge against the middle class Schwab family, who embody all they detest: middle class.
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
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 »
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 »
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.
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 <firstname.lastname@example.org>
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 »
Another flag with 48 stars is seen just prior to the Presidential scene. In the scene where Buffalo Bill plays for the President, the Presidential booth is adorned with 2 flags, each with 48 stars. The 48 star flag became the official flag in 1912. See more »
So, Sitting Bull's the little fella, hanh? He don't look so savage to me. I'm gonna sleep with a shotgun under my bed at night. You know, Sitting Bull's famous for scalping folks in their beds. I sure hope Bill can handle 'em.
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Robert Altman's Absolutely Unique and Heroic Enterprise of Inimitable Lustrel See more »
A very weak Altman film, all the weaker because it came out the year after one of Altman's best works: "Nashville." "Buffalo Bill..." is one of the most savagely satiric films from a director known for savage satire. Unfortunately, it's also a one-joke film, whose joke is given away in the first five minutes, leaving the film nowhere to go. Paul Newman plays Buffalo Bill as a complete buffoon, surrounded by yes-men and lackeys. He practically buys ex-Indian chief Sitting Bull for his Wild West show, and what we suffer through is scene after scene of white men making asses of themselves while native American Indians nobly and quietly observe and judge them. It's two hours of smug finger pointing at oblivious Caucasians for raping and pillaging the American frontier.
All of Altman's films have the feel of coming together in the editing room, and many times this approach to structure results in inspired moments, but "Buffalo Bill" feels even more than usual like a film without a center. There's no narrative thread to hold it together, so it has a wandering and monotonous quality. Also, it doesn't help that Altman's shooting style is uncharacteristically distant. There are virtually no close-ups in the entire picture, so scene after scene is photographed in medium and long shots. Both the screenplay and the camera keep us at a distance; as a result, we never become engaged in the action.
A definitive misfire.
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