(1993)

Critic Reviews

79

Metascore

Based on 22 critic reviews provided by Metacritic.com
100
Chicago Sun-Times
Los Angeles always seems to be waiting for something. Permanence seems out of reach; some great apocalyptic event is on the horizon, and people view the future tentatively. Robert Altman's Short Cuts captures that uneasiness perfectly.
100
Rolling Stone
Part of the miracle of Robert Altman's triumphantly fierce, funny, moving and innovative Short Cuts is that you can't get this movie out of your head. You keep playing it back to savor its formula-smashing audacity, its peerless performances and its cleareyed view of blasted lives.
100
USA Today
This definitive "life goes on" movie does what Altman does best: juggle 22 characters, deftly switch moods, and offer a comlex warts-and-all characters whose lives seem to extend beyond the screen. Few movies attempt this; Fewer succeed. [1 Oct 1993]
100
Wall Street Journal
Extraordinary...The movie has the intensity of an epic, only its subject matter is everyday life. [19 Oct 1993, p.A18(E)]
100
Chicago Tribune
Some movies can lay claim to being the best thing around in a week, a month, a year. Robert Altman's Short Cuts is closer to being one of the all-time bests, among the finest American films since the advent of sound. [22 Oct 1993]
88
ReelViews
It's a genuine pleasure to find a movie with such a deep and intelligent portrayal of simple human lives, with all their minor triumphs and tragedies.
80
At first, it's hard to sort out who knows who and where the stories connect, but it eventually comes together, combining the gripping power of a soap opera with the skewed, unusual perspectives of Carver and Altman.
75
San Francisco Chronicle
It's compelling, emotionally exhausting terrain, and Altman delivers it in cold, blunt strokes. [22 Oct 1993]
63
Christian Science Monitor
A daring but flawed achievement, diluting its emotional power and satirical bite with a self-consciously jagged structure, and a calculating, sometimes chilly untertone. [1 Oct 1993]
50
The Globe and Mail (Toronto)
Altman shakes the camera like a two-bit horror director, and it seems a different sort of signature - less masterful than weary, less signed than resigned. Zero-sum, indeed.

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