Mary Poppins Returns
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All Critics (53)
| Top Critics (10)
| Fresh (49)
| Rotten (4)
| DVD (5)
The funniest epic vision of America ever to reach the screen.
Certainly, for the American cinema, it is the most epochal event since Orson Welles' Citizen Kane.
I hate to go out on a limb after only one viewing, but Nashville strikes me as Altman's best film, and the most exciting dramatic musical since Blue Angel.
I think that the power and the theme of the film lie in the fact that while some characters are more "major" than others, they are all subordinated to the music itself. It's like a river, running through the film, running through their life.
A rare and puzzling movie: beautiful and cruel, passionate but strangely shallow.
Nashville is one of Altman's best films, free of the rambling insider fooling around that sometimes mars entire chunks of every second or third picture.
Politics and art collide in Altman's dense tapestry, showing that part of American's beguiling promise is the inevitability of commodification.
Robert Altman's Nashville, one of the best films of the 1970s, is a divisive, inarguably indulgent film, but also one uniquely experimental and prophetic.
Compared with the carbonated, artificially-flavoured, genetically-modified pap that mainstream cinema dishes up, Robert Altman's Nashville now tastes like a crisp organic apple.
To ponder Robert Altman's Nashville is not merely to examine a profoundly important movie, but to deal with the very birth of a filmic ideal.
Since the protagonists are mostly the performers themselves, and since, by and large, they seemed to me to be nothing but slick hillbilly narcissists, I found it difficult to become interested in their various plights.
Nashville is boisterous, good-natured, funny, exciting and brutal; it will exhaust you and you will feel rewarded.
Through music and a god-like point of view, Robert Altman offers us the intimacies of american society in all its wide, kaleidoscopic nature. it's as real and pedestrian as a filmmaker can get without making a documentary, but delving into the same kind of truths.
A clever, well-paced satire about country music and politics taking place on a weekend in Nashville, TN. Amidst the backdrop of an upcoming election, a country music festival takes over the town while a multitude of characters are detailed, all seeking happiness. A tale of manipulation and false expectations concerning fame and celebrity, director Robert Altman's masterpiece is an indisputable triumph of satirical sadness. It is a dark, somber movie, but one that is phenomenally acted and written, which keeps its audience's attention throughout its demanding near three-hour running time. Keith Carradine and Barbara Bixley shine brightest in terms of performances, but really this is an ensemble effort with an ending that is unexpected, and utterly brilliant.
Now I finally see why Robert Altman was so beloved. I never understood why he was spoken of as a genius. Now after finally seeing his 1975 near-masterpiece, "Nashville," I get it.
Through a strange set of coincidences, I never saw "Nashville" until now. I can remember when it came out. It received a lot of praise from serious critics and was nominated for a bunch of Oscars, including Best Picture (it lost to "One Flew Over the Cuckoo's Nest"). But it was never embraced by the mainstream. "Jaws" was the big movie that year. Everyone went to see "Jaws," including nine-year-old me. But almost no one went to see "Nashville."
But over the years, it has taken on classic status. And I can see why. "Nashville" is so innovative that it's a bit challenging to watch. But if you give it the time and stay with it to the end, I think you'll be happy you did.
I would describe it as one of the first post-modern films. It has about 25 characters, each with his/her own story line. There is no major character in the traditional sense. No one storyline dominates. I'd say that 1970s America is the main character. In many ways, Altman was holding up a mirror to the America of his day and showing us ourselves. He takes a panoramic ethnographic viewpoint, if you will. He's describing a culture, not focusing in on specific individuals.
Initially, it's captivating. But after about an hour, the lack of a central storyline became a bit wearying to me. There's not that much drama. But something magical happens in the last 20 minutes or so. The threads all come together beautifully, with a violent act providing something of a crescendo.
When Altman pulls his camera slowly back in the last couple of minutes, encompassing more and more in his field of vision, "Nashville" soars. It becomes a poem about America, almost perfectly capturing the longing, the sadness mixed with giddiness that was 1970s America. The irresponsibility, the fixation on music and entertainment, the persistence, and 100 other things. "Nashville" captures the feel of the 70s so well that it's almost mystical. A major work of art that I would enjoy watching again and again.
A hilarious satire of country music, Altman's Nashville is one the best ensemble pieces ever created.
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