Nashville - Movie Reviews - Rotten Tomatoes

Nashville Reviews

Page 2 of 40
Super Reviewer
May 3, 2015
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.
May 3, 2015
Perfect ensemble film
April 11, 2015
A bustling, panoramic view of Americana with as rich an ensemble cast as the '70s have given us.
March 8, 2015
In order to understand Nashville, try comparing it to 2001's Gosford Park, only Nashville has a far more understated plot with the reservation and depth of Ernest Hemingway. It contains a staggering amount of characters dropping in and out of focus, each with their own understated stories, a quiet sense of humor that rarely produces laughs though is consistently amusing, and a tantamount of subtlety that is likely to richly reward repeated viewings.
It's a rare gem of a movie that greatly requires delving deep beneath a surface level viewing to reap its substance.
½ March 1, 2015
Despite containing dozens of characters and little in the way of plot, this is a poignant and engrossing film.
½ February 28, 2015
At over two and a half hours this is hard work, especially if you're not a fan of country music. What annoyed me more was that there were some interesting characters in this film but we didn't get to know any of them in any depth due to the fact that there were just too many to crowbar into the story, which, by the way, was a bit all over the shop.
February 26, 2015
There are not enough great things to say about this classic gem. Worth watching all 2 hours and 40 minutes. The greatest work by the great Robert Altman in my opinion. A must see.
½ February 8, 2015
Embora seja evidente a importância histórica que "Nashville" tem, quer no percurso de Robert Altman, quer na escola de cinema norte-americano, os riscos que o filme assume não são ultrapassados sem uns quantos trambolhões pelo caminho."Nashville", à semelhança de outros tantos filmes de ensemble de Altman, funciona como um carrossel que percorre os vários símbolos, rituais e cromos de um mesmo universo temático (neste caso a indústria country de Nashville à beira de ser politizada), enquanto garante que os vemos de maneira ligeiramente diferente e durante uma curta janela de tempo, a cada volta que o carrossel dá. Com algum sentido de provocação, Altman impõe um ritmo que nos oferece um grande plano sobre a situação política e emocional de uma fatia demográfica de Nashville, embora sem nunca permitir que nos acomodemos na posição típica de um telespectador que tem acesso aos dramas de uma ponta à outra. Ora generoso, ora sôfrego, Robert Altman diverte-se ao deixar grandes espaços por preencher nas novelas que abundam em "Nashville", que, além disso, é um filme que entra e sai do modo musical com a maior das naturalidades e sem nunca interromper a sua própria fluidez. Muitos dizem que é o seu melhor filme, mas aí discordo: "Nashville" tem palha a mais para o que deve ser o grande filme de Robert Altman.
½ January 22, 2015
Nashville the musical capital of the U.S.? Altman is displaying the horrific country musical scene in the midseventies, in a somewhat realistic matter. As usual the vision is broad and and lot of very different characters are developing the many paths being lived. Stereotypes in all shapes, smartly done and interesting for the neutral viewer. My biggest question coming to mind after seeing this movies; is the music presented as it suppose to be or is it being mocked? Needless to say, american folk country is beyond shit.
½ January 17, 2015
Nashville still has as much relevancy as it did in 1975 when it was released. Directed by Robert Altman, the film tells about the lives of a variety of different characters looking to make it in country music and the entertainment business in Nashville, Tennessee. It was a somewhat controversial film within the Nashville community as they believed it was poking fun and taking potshots at people within that community, while on the other hand it was a major critical success and earned a decent profit at the box office. It was also nominated for five Oscars and nine Golden Globes, winning Best Original Song for both awards. I can't honestly say that I consider myself a Robert Altman acolyte, but I do appreciate a lot of the work that he did over the course of his career, which this film would certainly fall under that heading. It helped to further Altman's use of sound in motion pictures and was selected for inclusion in the National Film Registry in 1992, which is not small potatoes. I don't necessarily consider it a film that I could watch over and over again and soak up all of its parts, but it is an amazing film, and one that influenced not just his later work but other filmmakers' work as well.
½ January 4, 2015
Classic film from Robert Altman that I had been meaning to watch for over a decade, I'm glad I waited as the Criterion Collection blu-ray is outstanding. The really is a monumental film that influenced many films that followed it, covering both politics and music.. There's a really large cast, and Altman does a masterful job following all the stories and keeping everything cohesive. A MUST for film lovers.
November 12, 2014
A stupendous and emotionally devastating film by the late, great Robert Altman! This ties with "La Dolce Vita" as my all-time favorite film. Simply put, it's a masterwork of sheer genius!!!
Super Reviewer
September 13, 2014
This film has a severe case of ADHD.
½ August 24, 2014
A long way to nowhere.
August 20, 2014
Arguably the best American film of all time, this underrated classic does not get the full recognition it deserves. Though it is on AFI's Top 100 films of all time, I still do not think Nashville, alongside other of Altman's films, are truly appreciated for the genius Altman captures. I wish more films were like this. There is not outlandish action or any improbable situations but this film follows twenty-four characters through only five days in the country and gospel music capital of the world. This kaleidoscopic epic of the city of Nashville, Tennessee follows the ensemble while simultaneously revealing and playfully satirizing America's obsession with celebrity and politics. I was overwhelmed with the technical aspect of the film; in various scenes, we as the audience would see many of the twenty-four characters in one scene (such as on the street in a traffic jam, an airport, social gatherings and ultimately, a political fundraiser) and during that one scene we would eavesdrop of many of their conversations. Two or three character many be one place talking about the next election in which the fiction Replacement Party candidate is the main topic, while we cut to another group of characters that are nearby talking about whatever else they are concerned with. During this, we can barely overhear what the character we were just listening to. I thought it was seamlessly tied in to the whole style of the film and found it beautifully made. This is a movie that is moved forward by characters and dialogue. Lastly, the ending: everyone talks about the ending of this movie and how shocking and unforgettable it was. Though, I did not find the ending as shocking as what some people may saw, I did find it haunting and hard to forget. I wish more people would appreciate Nashville as what All American Classic.
Cameron W. Johnson
Super Reviewer
½ August 18, 2014
Looking at those heels under the microphone in this poster, and the heels under the peace hand in the poster for "M*A*S*H", it would appear as though Robert Altman had about as big of an obsession with legs as, well, I do. ...So, uh, yeah, anyways, if I can get to my obligatory song reference, I'm going with, "Going back to Nashville, thinking about the whole thing; guess you gotta run sometimes", even though there are plenty of songs about Nashville to make reference to. Nothing says musical quite like Nashville, yet in a discussion of a lively musical, of all songs I could have made reference to, it was a folksy ballad by David Mead that's almost 30 years younger than this film. Well, shoot, Nashville is best known for its country, and considering that the '70s still had a little bit of that tasteful, old-fashioned and, well, less lively "country" that Nashville is grunting out nowadays, I don't know how upbeat you can make the numbers in this film. After that minimalist Leonard Cohen soundtrack "McCabe & Mrs. Miller", I don't know if I can entirely trust Robert Altman to turn in the most colorful tunes. Shoot, this film is over two-and-a-half hours long, so these numbers better be livelier than an old Leonard Cohen or a new David Mead ballad, because it sounds like the plot is aimless enough. Well, sure enough, this film, while not especially rewarding, is pretty fun, despite taking its sweet time to wander along a path that isn't even wholly original.

Well, although this narrative hits its share of tropes, I don't know if this film is so much formulaic in structure, as much as it feels formulaic, almost lazily succumbing to the almost tired tone and flavor of other epic ensemble comedies of its nature, yet still not embracing that sort of color as it probably should. The film has the potential of being something like "It's a Mad, Mad, Mad, Mad World", and is considered a comedy-drama, something that it is too tonally uneven to effectively be, breaking up lively, if not somewhat cheesily surreal black humor and satire with quarter-baked tensions over conflicts and characterizations which are themselves questionable. The film's storytelling is nothing if not overblown, except in its depths and subtlety, which stand as the most glaring reflections of the natural shortcomings of this actually thin story concept of little consequence which works so blasted hard to compensate for the limitations of its subject matter with excessive plot layers. Following 24 main characters with various stories of varying themes, this film tells way, way too many stories of limited consequence to keep up with, being terribly uneven in focus, due to its being so overdrawn with segments whose presence to begin with reflects a serious bloating. The film's runtime clocks in around 160 minutes, and, well, to be blunt, that is [u][b]way too blasted long[/u][/b], being achieved largely by the aforementioned excess in material, and partly by filler which ranges from overlong song performances, to mere meanderings which would be easier to embrace if they weren't kind of dull. Yes, this film is dull, at least at times, of which there are enough for you to settle in and focus on the limitations of the story concept, and the inconsistencies of its telling, until too much momentum is lost for the final product to achieve the particularly fulfilling state that it perhaps could have achieved. Nevertheless, the film entertains so much that it comes to the brink of rewarding, at least being fulfilling as a portrait on the Nashville music scene.

Now, with all of my joking about how this film's musical numbers better be lively if they're going to occupy some of the runtime, seeing as how this film isn't as flamboyant as it perhaps could have been, there are no song and dance routines to drive storytelling, but rather, prominent performances of the country and gospel tunes which define the Nashville music scene, and whose genuineness defines the taste of this musical. Sure, the tunes aren't particularly exciting, not unlike, well, Leonard Cohen's soundtrack for "McCabe & Mrs. Miller" (Wow, I underestimated how subdued Robert Altman can get), but they play a key role in bringing life to this film as an entertaining and faithful tribute to the capital of southern American music. Still, this film is mostly about, not so much the music, but the characters of Nashville, taking on a simply unreasonable amount of plot branches and never getting very heavy with any of them, until it comes out both thin and overblown, yet by no means colorless, for each layer of this pseudo-epic of an ensemble satire-drama is reasonably interesting, with memorable leads who are all well-portrayed. This cast isn't given much to do, but for all of its members to deliver as best they can is impressive, for just about everyone features his or her own distinguished charisma to sell the dynamicity of this overblown, yet thankfully not monotonous ensemble piece. The performers are at least worked with very well by Robert Altman, who, as director, takes a surprisingly subdued approach that gets a little bland when material starts to lapses, but graces the film with a consistent sophistication which helps in making it compelling enough to border on rewarding, and rarely dulls things down too much, due to the film's rarely losing material to draw upon. Joan Tewkesbury's script is exhaustingly overblown in structure, to the point of being uneven in tone, believability and focus, while never getting ambitious enough to transcend certain conventions, but it remains fairly sharp more often than not, drawing many a distinguished, memorable character for the performers to portray so charismatically, while delivering on plenty of witty humor and biting satire for Altman's direction to grace with subtlety. What is done right and done very well in this epic of an ambitious satirical comedy, and although the excess wears you down enough for the final product to fail at fulfilling its full potential, - no matter how limited - entertainment value keeps consistent enough to endear, even if it doesn't quite reward.

When the music finally died down, the film, with a rather formulaic feel, takes way too long to travel down a path which is inconsistent in tone and focus, yet still not overblown to the point of putting all that much meat on the bones of a somewhat inconsequential plot, whose color is still done enough justice by a solid soundtrack and cast, and clever direction and writing for Robert Altman's "Nashville" to stand at the brink of rewarding with its entertainment value and intelligence as a massive, if improvable tribute the music and other characteristics of the lively city of Nashville, Tennessee.

2.75/5 - Decent
August 14, 2014
Altman's mosaic has a wide and richly drawn variety of memorable characters that seemingly collide chaotically but despite the very loose narrative and overlapping dialogue, this clever film which equates the folly of politics with the sleaze and dishonesty of the entertainment industry feels so brilliantly, acutely and perfectly structured.
August 8, 2014
Altman sums up America (for pretty much any decade) beautifully, showcasing just about every kind of American in their gloriously quirky, vulnerable, egotistic, sweet, and entitled garb, all under the umbrella of "authentic Americana" country music and homegrown politics. The highway pileup, with Hal Walker's van (he never shows his face) blasting his reformist message over the chaos is a perfect image of the American political system in miniature. One incident causes a chain reaction that leads to gridlock that causes a lot of talking, misunderstanding, people walking off, and someone talking over everyone with the "solution" but no one gives a shit. Yeah, sounds about right, especially now.
½ August 1, 2014
I really hated this movie. Considering its a masterpiece and junk, it just plain stunk! I feel asleep trying to watch it 3 times! Its far too long, disjointed, and discombobulated. I will say the acting is good and I actually like the music-thought it was beautiful. A couple of scenes were interesting and so were some characters-I will give it that. I just hate the director of this movie for turning what could of been great into a damn mess of a movie. The rambling camera when people are talking, the cut up scenes and dialogue, the jumping from character to endless character, Don't they know how to edit? Don't hold ur breathe that the movie will get more understandable and less shallow! I don't care how many people think this movie is great-its a pile of shit. Golly I hated this movie!
Page 2 of 40