By Aaron Hillis
By Casey Burchby
By Stephanie Zacharek
By Calum Marsh
By Kera Bolonik
By Stephanie Zacharek
By Ernest Hardy
By Eric Hynes
Filmmaker Robert Altman died Monday night, at the age of 81. Nominated for five Academy Awards for directing, Altman won an Oscar for lifetime achievement this year. The AP called Altman, whose credits span the creative cosmos from Mash in 1970 to Nashville in 1975 to A Prairie Home Companion in 2006, a "caustic and irreverent satirist."
In recent years, Voice critics have suggested he was all that and a few other things, too.
A selection of recent reviews:
A Prairie Home Companion
"Tellingly, Altman never shows the audience: For this gently fictionalized backstage musical set at the show's real home in St. Paul, Minnesota, the audience is Robert Altman, and so is the master of ceremonies."
Tanner '88, from 1988
In "Remembrance of Wacky Political Conventions Past", Joy Press wrote: Long before K Street, Garry Trudeau and Robert Altman devised this mock-documentary miniseries, which snuck a fictitious candidate named Jack Tanner (Michael Murphy) in among the multitudes of Democratic contenders. The reconceivedTanner on Tanner, from 2004
In "My Fake Candidate: Robert Altman and Cynthia Nixon talk about Tanner," Press wrote:
"If radicals can't actually achieve change in any meaningful way, what's left for them to do with their good intentions? Well, you can make a documentary."
The Company, from 2003
"Looking ahead to his 79th birthday, Robert Altman has been plugging away on movie sets, manufacturing adroit classics, odious train wrecks, andmost oftenambitious mediocrities for more than five decades."
Gosford Park, from 2001
"As with Altman's best movies, Gosford Park is above all an entrancing hum of atmosphere and texture."
Dr. T and the Women, from 2000
In "Dolorous Haze," Lim wrote:
"Robert Altman calls his latest film a 'love letter to the women of Dallas,' but it's hard to detect anything resembling affection in Dr. T and the Womenat best, a snickering empathy for Richard Gere, cast effectively enough as the squintingly perplexed, emasculated center of a raging estrogen tempest."
Cookie's Fortune, from 1999
In "Spring Fever," J. Hoberman wrote:
"Even more than Woody Allen, Altman is a filmmaker who aspires to the choreographed and socially astute ensemble humanism epitomized by Jean Renoir's The Rules of the Game. But unlike Renoir, he has a saturnine temperamenthe cannot help but condescend to half of his characters and ridicule the rest."
Join My Voice Nation for free stuff, film info & more!
Find everything you're looking for in your city
Find the best happy hour deals in your city
Get today's exclusive deals at savings of anywhere from 50-90%
Check out the hottest list of places and things to do around your city