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"The Player" (1992) - Tim Robbins & Greta Scacchi
A wicked satirical fable about corporate backstabbing--and actual murder--in the movie business, The Player benefits from director Robert Altman's long and bitter experience working within, and without, the Hollywood studio system. Rising young executive Griffin Mill (Tim Robbins) is tormented by threats from an anonymous writer. The pressure and paranoia build until Griffin loses control one night and semi-accidentally kills screenwriter David Kahane (Vincent D'Onofrio), who may or may not be the source of the threats. From that point, Griffin's life and career begin to fall apart. In keeping with the ironic spirit of the film itself, Altman's scathingly funny attack on the moral bankruptcy of Hollywood was embraced by many of the same people it was intended to savage, and restored the director to commercial and critical favor. Michael Tolkin adapted the screenplay from his own novel, and the movie is studded with cameos by famous faces, many of whom appear as themselves. The digital video disc includes a commentary track with Altman and Tolkin, some deleted scenes, a documentary about Altman, and a key to help identify more than 50 of the picture's big-name cameos. --Jim Emerson
"Short Cuts" (1993) - Andie MacDowell, Julianne Moore & Tim Robbins
If aliens came down to earth to see if humanity was worth saving, showing them Short Cuts, Robert Altman's bluesy riff on life in LA in the 90s, would not be a good idea. Based on the stories of Raymond Carver (adapted by Altman and Frank Barhydt), this ambitious film is a devilish valentine to living in LA, where happiness comes at a premium. There are at least eight separate stories that crisscross, most about people who choose not to relate to the lives they are living. Seemingly by design, none of the stories (nor the performances for that matter) have more impact than the others--this is a true mosaic film. The most representative plot deals with a group of friends (Buck Henry, Fred Ward, and Huey Lewis) who decide to keep fishing even after discovering a body in the river. The story works as a morose comedy and a flag holder for the movie: the inability to take the correct action. Others would rather talk about seeing Alex Trebek than discuss their faltering relationships. A huge and talented cast twists in the wind, bumping into moments of truth, sex and passion. Some even come out all right in the end. The accidental nature of life--a common theme in many Altman films--has never been so maddeningly persistent nor so absorbing. The score by Mark Isham with songs sung by Annie Ross (also a cast member) fuels the moodiness, as does the opening number in which Medfly helicopters spray the town to the tune "Prisoner of Life." Delivering the film a year after his biggest hit in two decades, The Player, Altman proved his artistic tenacity as an aged artist with the heart of a new filmmaker: he's not afraid at risking it all. --Doug Thomas
"Ready to Wear" (aka "Prêt-à-Porter") (1994) - Sophia Loren, Julia Roberts & Kim Basinger
Robert Altman's much-anticipated broadside at the world of fashion is a disappointment. The film's crazy-quilt Nashville-like narrative structure and ensemble casting (Julia Roberts, Tim Robbins, Lauren Bacall, Marcello Mastroianni, Sophia Loren) are a thing to behold, but the story's many interlocking pieces lack overall depth and resonating emotion. There is a grand, satiric statement about fashion and society at the end of the film, and there are hints of an aging, nostalgic filmmaker's skepticism about our postmodern world of short-lived attachments and meanings. But watching this film is a long, long uphill climb, with a lot of thin air to endure before arriving at a destination. --Tom Keogh
"Kansas City" (1996) - Jennifer Jason Leigh, Miranda Richardson & Harry Belafonte
Robert Altman wanted to captured a sense of what life was like in his hometown during the Depression, both in a story about the people who lived there and, more impressionistically, in the jazz that sprouted there before moving to New York. But his plot here is rambling and undramatic: A small-time hood double-crosses a vicious black gangster (Harry Belafonte) and is grabbed by him, marked for death. To save his life, the hood's dim blond wife (Jennifer Jason Leigh) kidnaps a rich politician's wife (Miranda Richardson) and spends the day driving around town with her, on the theory that the politician can convince the gangster to free her husband. Leigh is jittery, Richardson seems bored--and the lengthy jam sessions we see (involving contemporary musicians such as Joshua Redman) serve only to prolong an already slow-moving film. Possibly worth seeing for the silky menace of Belafonte, but there is little else to recommend it. --Marshall Fine
"Cookie's Fortune" (1999) - Glenn Close, Julianne Moore, Liv Tyler & Chris O'Donnell
Dedicated fans of Robert Altman will want to check out this drowsy Southern comedy, which is shot through with the director's feel for location and his musical sense of storytelling. Non-Altman fanatics might want to tread more carefully. Cookie's Fortune begins beautifully, as handyman Willis (Charles S. Dutton) staggers home from a blues club in the small town of Holly Springs, Mississippi. In the wee hours of a warm night, he has an affectionate chat with elderly matriarch Jewel Mae "Cookie" Orcutt (the grand Patricia Neal) and the gentle history of their friendship is sketched in a few brief exchanges. Soon enough, Cookie has checked out of this world to join her dear departed husband, prompting her nieces to make the suicide look like a murder---to protect the dubious family name, of course. They are the local drama diva (Glenn Close), a Scarlett O'Hara in her own mind, and her dreamy sister (Julianne Moore), who ain't quite right in the head. Will Willis be blamed for the murder? Will the inheritance go to the nieces? Will Liv Tyler and Chris O'Donnell find a place to express their lust? None of these questions is especially burning, and Altman doesn't seem terribly anxious about the answers. Instead, he aims for a particular kind of laid-back quirky southern comedy, unevenly filtered through his screen of sour irony. Like a jazzman blowing improv, some of this works and some of it doesn't. Speaking of music, the film boasts a nifty R&B soundscape devised by former Eurythmics man David Stewart, with a boost from blues belter Ruby Wilson. --Robert Horton
"Dr. T & The Women" (2000) - Richard Gere, Helen Hunt & Farrah Fawcett
Loose-limbed and casual even for a Robert Altman movie, Dr. T & the Women has a sly, offhanded wit that makes up for its ramshackle structure. Richard Gere's eponymous gynecologist seems the model of success: his office is packed daily with the cream of Dallas's society matrons clamoring for an appointment, his home life is blessed with loving wife Farrah Fawcett and daughters Tara Reid and Kate Hudson, and when he needs a break from the estrogen congestion there are always weekends to be spent with his trio of hunting buddies. But on a trip to the mall to shop for Hudson's upcoming nuptials, Fawcett strips naked and leaps about in a waterfall. Her subsequent incarceration in a mental hospital (she's diagnosed with the fictional "Hestia complex," suffering from receiving too much affection) along with the ongoing preparations for the wedding barely make a dent in Gere's charming, compassionate demeanor. Then his golf course hires a new female pro who's everything the other women in his life are not--independent, self-confident, Helen Hunt--and Dr. T finds himself with yet another woman to love. Though the minor characters are mostly nasty little caricatures, the film is not the bitter misogynistic rant its detractors claim it is; the problems in Dr. T's life are placed squarely on his own inability to see that women don't need his genteel protection, and Gere perfectly captures this sweet yet condescending blind spot. --Bruce Reid
"Gosford Park" (2001) - Maggie Smith, Kristin Scott Thomas, Clive Owen & Ryan Philippe
Gosford Park finds director Robert Altman in sumptuously fine form indeed. From the opening shots, as the camera peers through the trees at an opulent English country estate, Altman exploits the 1930s period setting and whodunit formula of the film expertly. Aristocrats gather together for a weekend shooting party with their dutiful servants in tow, and the upstairs/downstairs division of the classes is perfectly tailored to Altman's method (as employed in Nashville and Short Cuts) of overlapping bits of dialogue and numerous subplots in order to betray underlying motives and the sins that propel them. Greed, vengeance, snobbery, and lust stir comic unrest as the near dizzying effect of brisk script turns is allayed by perhaps Altman's strongest ensemble to date. First and foremost, Maggie Smith is marvelous as Constance, a dependent countess with a quip for every occasion; Michael Gambon, as the ill-fated host, Sir William McCordle, is one of the most palpably salacious characters ever on screen; Kristin Scott Thomas is perfectly cold yet sexy as Lady Sylvia, Sir William's wife; and Helen Mirren, Emily Watson, and Clive Owen are equally memorable as key characters from the bustling servants' quarters below.Gosford Park manages to be fabulously entertaining while exposing human shortcomings, compromises, and our endless need for confession. --Fionn Meade
"A Prairie Home Companion" (2006) - Lily Tomlin, Meryl Streep & John C. Reilly
Robert Altman and Garrison Keillor combine reality and fantasy in this smooth, ebullient take on the long-running Prairie Home Companion radio show. Set during the show's fictitious last broadcast--the host station has been bought--the film has plenty of elements from the real PHC radiocasts, including a live audience and the sensational Shoe band. The onstage program is mostly music numbers, a beguiling mix of standards and old-style country. However, the show's usual comedy sketches are never presented, save for the commercial parodies--this may be a PHC show, but Lake Wobegone is never mentioned. Instead, the sketches are played out as backstage banter that feautres the Johnson Sisters (Meryl Streep and Lily Tomlin), a harried stage hand (Maya Rudolph), a former listener turned angel (Virginia Madsen), and Keillor himself (a crusty alter-ego named simply G.K.). A few characters from the real PHC are given life: the singing cowboys Dusty and Lefty and gumshoe Guy Noir are embodied by Woody Harrelson, John C. Reilly, and Kevin Kline, respectively. Old flames are fanned, stories are spun, new talents are found (Lindsay Lohan has a chance to shine as Streep's daughter) and everyone wonders if G.K. will do something to ebb the tide of cancellation (personified by Tommy Lee Jones as the corporate Axeman). All of the actors do right as singers, and seem to be having the time of their life. Keillor's screenplay is perfect fodder for Altman's usual brand of storytelling, as characters babble on with the camera picking them up often in mid-thought. The film appeared a few months after Altman received an honorary Oscar, and the director is still at the top of his game, creating this smile-inducing, song-filled time, ending with an ethereal last musical number. --Doug Thomas
