SunnyHello Nice effects though.

Invaderbank The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Humaira Grant It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Josephina Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

arfdawg-1 The Plot. Over the course of a few hectic days, numerous interrelated people prepare for a political convention as secrets and lies are surfaced and revealed.This was a big hit when it came out in the 70s. Unfortunately, today it's a dated and somewhat trite relic. Altman had a very spotty hit and miss career.This may have been a hit 40 ears ago but it doesn't stand up today. Henry Gibson is WAY mis cast with a phony accent. The political discourse hasn't changed in 40 years only today it's far more violent.The inter cutting over lapping and improvised dialog is just darn annoying. This is something the director was known for and in today's world it just takes away from the enjoyment.The music is atrocious.A pro is that Shelly Duvall was still hot with a butter face when she appeared in this movie.

Uriah43 This is one of those films which viewers will probably either love or hate due in large part to the rather haphazard assortment of scenes which seem quite dull and tend to go nowhere. The trick to understanding this film, however, is to realize that all of these scenes either directly or indirectly lead to a climatic finale which is both dramatic and yet puzzling as the same time. At least, that is how it seemed to me. That being said, this movie chronicles several different characters whose lives intertwine in such a manner that some of them don't even realize how their behavior influences others around them--or the future course of events which subsequently play out right before their eyes. It's all rather remarkable in that respect with the scene involving the pop singer named "Tom Frank" (Keith Carradine) serenading "Linnea Reese" (Lily Tomlin) being one of the best. Conversely, there are several others which are downright unremarkable as well with the scene featuring the BBC newscaster "Opal" (Geraldine Chaplin) giving a monologue in the junkyard as possibly the most boring and inane. Likewise, I thought the special guest appearances of both Elliott Gould and Julie Christie (as themselves) were rather awkward as well. In any case, this film was definitely a unique product of its time and all things considered I rate it as slightly above average.

framptonhollis "Nashville" is simply a stunner! Every time I finish watching I'm left feeling like I just had a true *EXPERIENCE*!!! It's a beautiful, funny, and amazing masterpiece of cinema, and I think it may actually be the greatest film ever made (however, my personal favorite will still always be "Eraserhead")!Throughout "Nashville", there's an amazing spirit to it all! You can tell that it is a very "alive" piece of filmmaking. A lot of it is shot like a documentary with many fascinating cinematic techniques used throughout. I'd really recommend watching the commentary of "Nashville" because, like most Altman films, there are many interesting behind the scenes stories. The way Altman and his crew made this film was very unconventional and original.With over 20 main character this ensemble piece is 160 minutes in length, but not one second of these 160 minutes is dull or boring in any sense of the word! Anyone who is afraid of long movies should watch "Nashville" regardless, because the film is so entertaining it doesn't feel nearly that long. In fact, I wish it was much longer! I managed to care about all of the film's many characters, and their own little stories help form to create one great, big story. A story about a place, it's music, and it's people. The mood of the film ranges from the hilarious and satirical to the emotional and tragic, and Altman captures each emotion with pure perfection. The ending sequence is particularly memorable. I won't spoil anything, but I will tell you that it is one of the most breathtaking conclusions in cinematic history!

popcorninhell What is this movie even about? I'm aware asking such a question is reductive in the face of such a vast and overwhelming cinematic accomplishment. Yet despite its melodious and melancholic emotional core and its initial impact as one of the defining films in a decade full of defining films, I still can't help but think Nashville is not meant to be interpreted. This poses a unique challenge for me as a semi-professional critic. The film is not only best appreciated by an audience that treasures experience over contemplation, emotion over logic, but gazes through the slice-of-life story with a lens trying to make sense of post-Watergate era Americana.The story, if one were to find one, follows the lives of numerous interrelated human-beings. All descend on the city of Nashville, Tennessee and all involved (or want to be involved) in the country music industry. Among the crowded field of primary characters is Haven Hamilton (Gibson) the presumed king of Nashville's music scene who also has political ambitions. There's Del (Beatty) and Linnea Reese (Tomlin) a struggling married couple; one's a lawyer the other a gospel singer. There's Tom Frank (Carradine), a self-absorbed folk-rock musician and Barbara Jean (Blakley), a famous and emotionally fragile country talent. Then there are the musical up- and-comers like Connie White (Black) and Tommy Brown (Brown). There are wannabes like Sueleen (Welles) and Albuquerque (Harris) and sycophants like Opal (Chaplin) and L.A. Joan (Duvall), all looking for absolution in a city that promises good times and possible fame.All the characters that I just listed are but a sample of the characters that drift and cross paths between Nashville's seedy nightclubs, cluttered highways and the pristine Grand Old Opry. But lest you think the narrative is too cluttered, every character has their moment to show the audience who they are and how they're changed by events larger than themselves. Meanwhile director Robert Altman captures the pathos of Nashville's microcosm in confident fashion. Characters make decisions that are at times solemn, desperate, tranquil, kind and despicable yet Altman's even hand and watchful eye looks on with fair-minded kindness and humanity.Many of Altman's detractors object to the directors presumed cynicism towards human nature which arguably interjects in some of the director's most famous works. One can't help but take a cursory look at films like M*A*S*H (1972) and The Player (1992) and wholly agree with such an assessment. Yet after my initial trepidation of consuming all things Altman, that criticism holds less sway. Altman seems to immerse and undermine systems not people. You only need to compare the visual hyperbole of M*A*S*H with the drowning pessimism of Catch-22 (1970) to see Altman doesn't dwell on the "insignificance" of man but rather the folly of social constructs. In M*A*S*H it's war; in Buffalo Bill and the Indians (1976) it's subjugation of native peoples; in Nashville it's dichotomic politics.In the case of Nashville, not only does Altman attack the binary of American politics in the story (fronted by an unseen pseudo-populist political campaign), he attacks it in how he tells he story as well. The film's narrative can be best described as post-structuralist narrative, that is to say not beholden to an underlying theme or framework. Any attempts to decipher the film would yield a bevy of contradictions that threaten to unravel any theory one can posit. Even if Altman is the director and ultimately the "author" to the film, all the music in the film was written by the actors themselves. The cacophonous sound design was the product of USC wunderkind Jim Webb who miked everyone to allow for a breadth of experience. The editing done by first-time Altman collaborator Dennis Hill gives perspective while restraining a point-of-view. Nashville gives the audience the feeling that no one is at the wheel. Even by approaching the film as a product of Robert Altman's assumed overarching modus aprendi to undermine systems has it's problems.Nashville transcends but not in the way you would expect. It accurately captures the antipathy, the uncertainty and most importantly the humanity of a certain place in time. The film has aged though in the way an autochrome photograph would. Modern audiences can appreciate it as a textured and awe-inspiring cultural accomplishment which dares to challenge film form, story structure and (maybe) the systems which bridles our lives. Without Robert Altman's subtle but indelible contribution to film, there'd be no Richard Linklater, Jim Jarmusch or Paul Thomas Anderson. Nashville showcases Altman's gentle hand, sharp wit and deep love of humanity which we all benefit from.