I grew up a TV junkie, not so much a filmgoer. In 2020 I started a deep dive to improve my appreciation for movies. This blog is a diary of my film-viewing journey since then!
Quintet (1979) is one of those strange cinematic curiosities that I’m
not sure I’ll remember or even decide if I enjoyed it. If I had to sum it up in one word, the word
would be “mediocre”. It’s the only
sci-fi film ever made by Robert Altman, and the only sci-fi film that Paul
Newman starred in. I’m not sure either
gentleman benefited from the venture.
Gosford Park is technically a whodunit, but the “who” hardly matters. The real mystery lies in the intricate web of relationships that unravel among Britain’s 1930s aristocracy and their servants.
If you like Robert Altman’s unique storytelling, or the intense screen presence of Kim Basinger or Sam Shepard, then Fool for Love is worth seeking out. Adapted from Shepard's stage play, the film captures a tense, raw, emotional showdown between two former lovers trapped in an unresolved and deeply complicated relationship.
Robert Altman’s Prêt-à-Porter (or, as it was unfortunately dumbed down for American audiences, Ready to Wear) wants to do for the fashion world what M*A*S*H did for war and Nashville did for country music, but it never quite gets there. Instead of slyly skewering the fashion industry’s vanity and absurdity, it gets caught in a muddled mess of half-hearted satire, poorly sewn subplots, and way too many characters with not enough to say. The materials are all there, the glamour, the ego, the eccentricity, but Altman, who once masterfully juggled chaos in his ensemble pieces, seems overwhelmed or maybe just uninterested this time.
In A Perfect Couple, Robert Altman takes a quirky stab at the burgeoning world of video dating, a novelty at the time that now feels like a cultural time capsule. The film pairs Alex (Paul Dooley), a middle-aged Greek-American man smothered by his domineering family, with Sheila (Marta Heflin), a shy, ethereal backup singer in a bohemian rock group akin to The Starland Vocal Band. Following a rained-out first date, the story captures the tentative hopefulness and awkward charm of people searching for love in unconventional ways. Altman's satirical eye is certainly present, but here it's softer, more curious than cutting.
In 1973, director Robert Altman took a swing at bringing the classic noir detective Philip Marlowe to the big screen, and into the 1970s. The Long Goodbye, based on the Raymond Chandler novel of the same name, features Elliott Gould as the iconic gumshoe. Whether or not this outing is a success largely depends on what you’re more a fan of: filmmaking as an art form, or the character of Marlowe himself.
Beyond Therapy (1987) is, without a doubt, one of the worst movies I’ve ever seen. I’ve said it, and I stand by it. If you want to know why, feel free to continue reading.
Countdown (1967) opens with a bold, ominous score by Leonard Rosenman that sets a tone like one of those big-budget disaster movies that would dominate the '70s. Unfortunately, the film doesn’t quite deliver on that tension, and never fully realizes any of the edge-of-your-seat thrill that the opening music promises.
The Delinquents marked Robert Altman’s first solo effort as a narrative film director and screenwriter (he’d previously co-directed The James Dean Story, a documentary). It’s an independent film shot in his hometown of Kansas City, Missouri, and with the exception of the three main male leads, most of the cast is made up of Altman's friends, family, and local actors.
Following a string of theatrical successes in
the 1970s, many of Robert Altman's films in the 1980s received a more muted
critical response. However, in 1990, he
returned to form with Vincent & Theo,
a biographical drama centered on the complex relationship between the artist
Vincent van Gogh and his brother Theo. The film earned Altman renewed acclaim. At its core, Vincent
& Theo is a richly textured exploration of two brothers bound by love,
obligation, and a shared devotion to art.
When That Cold Day in the Park premiered
in 1969, it was met with lukewarm, if not outright dismissive, critical
reception. Today, its Rotten Tomatoes
score stands at a mild 50%, but I find that judgment sorely lacking. As Robert Altman’s fourth directorial effort, and
his first foray into psychological drama, the film may not reach the heights of
his later masterpieces, but it remains a striking and quietly unsettling work
that deserves some thoughtful reconsideration.
Robert Altman's California Split is another triumph in his unique brand of filmmaking, one that thrives on character over plot and the nuances of human behavior over dramatic story arcs. Released in 1974, the film is a quintessential example of Altman's improvisational style and his ability to drop viewers into fully realized worlds without conventional exposition.
I knew I had seen Dr. T & the Women when it came out in 2000, but I couldn’t recall a single scene. That should have been my first clue. Still, in pursuit of my 2025 goal to watch every Robert Altman film, I decided to give it another shot. Now that I’ve rewatched it, the mystery of my memory lapse is solved: there’s not much here worth remembering.
The movie M*A*S*H inspired a television series of the same name that aired consistently as a top-rated show for 11 seasons (1972 – 1983). The movie and the TV show, however, are very different experiments in storytelling. My 2025 journey to see all of Robert Altman’s films continues as I review M*A*S*H, the original movie released in 1970.
"I’m
trying to find the courage to be tender in my life. I know that violent people are weak
people. Only the gentle are ever really
strong." - James Dean
What
happens when an insecure, paranoid, and disgraced former U.S. President has
time alone to contemplate his legacy? Robert
Altman’s Secret Honor (1984) shows us one possibility. This film is a compelling, thought-provoking one-man
performance that is mesmerizing, disturbingly unsettling, and, given the current
status of democracy in the United States, extremely prescient. In a way, I imagine this movie could
be more compelling today than it was when it was released.
Susanna York’s performance in Images earned her the Best Actress Award at the Cannes Film Festival. It was a well-deserved honor.
Straight out of the gate, I admit that this entry is not a feature film directed by Robert Altman. Instead, The Laundromat is a television film directed by Robert Altman! This movie first aired in 1985, during the early years when the burgeoning pay channel, HBO, began producing original content. It marked the third collaboration between Altman and Carol Burnett, and it was for this reason that I included it in my 2025 Altman film journey.
Kansas City (1996) is a modern noir film that delves into themes of crime, class, relationships, racism, and politics, all woven together by the soulful backdrop of live jazz music. The soundtrack is mesmerizing, creating a seamless flow of music that starts from the opening scene and continues through to the closing credits. While the film's execution may be a bit uneven at times, it leans a tad more toward success than failure.
Brewster McCloud (1970) was everything I hoped for when I set my 2025 goal to watch all of Robert Altman’s films. The movie’s poster promises that it’s “different”—and it truly is. It’s bizarre and also deeply thought-provoking and darkly humorous, with an edge that lingers long after the credits roll.
As part of my quest to watch all of Robert Altman's films, Popeye was one I approached with
low expectations. Honestly, I selected
it early on... simply to get it out of the way. When the film was released, the reception was
far from enthusiastic, and at the time, I didn't have the film-viewing acumen
to fully appreciate the immense talent of Robin Williams or Shelley Duvall. Because of that, I always had a nagging sense
that I would hate it. But now that I've
seen it, I can honestly say that not only did I NOT hate it… I found it
surprisingly charming! While it's not
without its flaws, Popeye ultimately serves as a
heartfelt and well-executed tribute to the classic Fleischer Studios Popeye the Sailor cartoons from the
1930s and 1940s.
3
Women (1977) is
a captivating and enigmatic psychological drama from the mind of Robert Altman,
who both wrote and directed this thought-provoking piece. If you're expecting a
conventional plot you’ll most likely be disappointed. However, if you crave a
film that challenges you to think and feel deeply, this movie delivers in
spades. 3 Women
stands out for its experimental narrative, with a storytelling style that
invites open interpretation.
Quintet (1979) is one of those strange cinematic curiosities that I’m not sure I’ll remember or even decide if I enjoyed it. If I had to ...
