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,
Dr. Sullivan Travis "Dr. T." is a wealthy Dallas gynecologist for some of the wealthiest women in Texas who finds his idealist life beginning to fall apart starting when his wife, Kate, ... See full summary »
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 »
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.
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.
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.
An inside look at the world of ballet. With the complete cooperation of the Joffrey Ballet of Chicago, Altman follows the stories of the dancers, whose professional and personal lives grow impossibly close, as they cope with the demands of a life in the ballet. Campbell plays a gifted but conflicted company member on the verge of becoming a principal dancer at a fictional Chicago troupe, with McDowell the company's co-founder and artistic director, considered one of America's most exciting choreographers. Franco plays Campbell's boyfriend and one of the few characters not involved in the world of dance. Written by
Andrea Barney <andrea808@hotmail..com>
Lets hope that Altman makes films for another 20 years and that he stays as adventuresome as he currently is.
In 'The Long Goodbye' Altman invented a rather new camera stance, literally asking the actors to improvise staging and having the camera discovering them.
It took a few decades for him to get back to such experiments with 'Gosford.' Now he takes it even further with perhaps the purest problem in film cinematography: how do you film dance?
Forget that this features Campbell in a vanity role: she is good enough and doesn't detract. Forget about any modicum of plot: there isn't any. And unlike 'Nashville' or the similarly selfreferential 'Player' there is no cynical commentary.
The commentary itself is selfreferential this time. Yes, this time the center of the film is how 'Mr A' orchestrates movement and images. This is most of all about himself, and is far, far more intelligent and subtle than say, 'Blowup.'
But along the way, you get possibly the best dance experience on film. That's because they've been able to use many cameras. There are not as many as 'Dancer in the Dark,' but each camera dances, engages with the dance and the dance of people and objects around the dance. So we get four layers of dance: the actual ballet, the orchestration of people around the production, the dancing cameras (enhanced by non-radical appearing radical editing) and the dance within the mind of Mr A who encourages, follows and captures them all.
Ted's Evaluation -- 3 of 3: Worth watching.
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