Short Cuts

Short Cuts

Multi-storied, fish-eyed look at American culture with some 22 characters intersecting--profoundly or fleetingly--through each other's lives. Running the emotional gamut from disturbing to humorous, Altman's portrait of the contemporary human condition is nevertheless fascinating. Based on nine stories and a prose poem by Raymond Carver.

  • Rating:
    4.00 out of 5
  • Length:187 minutes
  • Release:1993
  • Language:English
  • Reference:Imdb
  • Keywords:artist,   rape,   murder,  

The day-to-day lives of a number of suburban Los Angeles loosely connected residents who cross paths. The role of chance and luck is central to the film, and many of the stories concern death and infidelity. . You can read more in Google, Youtube, Wiki

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Short Cuts torrent reviews

Juan F (gb) wrote: I liked it a lot!!!!!!!!!!!!!

WS W (au) wrote: It seems trying to be something exciting & funny at the same time, but looking like a B/C grade flick made in some unknown European countries for most of the time, until almost the end of it. Janet McTeer, although her delivery reminds me Helen Mirren in every bit, is perhaps the only one who is real cool here.

Matt H (ru) wrote: Watch out the computer has a mind of its own.

Anne W (it) wrote: En sjarmerende og morsom film.

Tonya V (de) wrote: The Band from Hell=The movie from hell!

Jim D (ru) wrote: I am shocked at the critics response and the public's response !!! This was a great movie. Funny, poigniant, critical and romantic. What is wrong with this film??? NOTHING !

justin c (ca) wrote: Dis is one of da best steven seagal movies ever

Maksim B (it) wrote: A fact-based thriller, The Assault (L'assaut) is a gripping, simple and an adrenaline-pumping depiction of a true terrorist hijacking and the events during the rescue operation. Subtle and minimalistic, this French movie is a formidable example of serious, tension-filled,and yet non-fictional film-making. The ninety minutes of director Julien Leclercq are focused solely on the events which took place in Algeria and in Marseille,France during the Christmas holiday of 1994. Without much hesitation or any long introduction, the movie kicks off in fast pace and keeps its narrative so quick that the somehow "documentary" feeling remains completely unnoticed until the very end of the movie. With slow motion action sequences, stylish black & white camera approach and greyish cinematography The Assault remains extremely realistic and simple. Just what a real hostage movie should be. Director Julien Leclercq decides not to develop any of the characters shown in his movie. The only one who receives more focused screen attention is Vincent Elbaz as Thierry. This could be considered a small flaw, as the impersonal approach towards the movie characters decreases the possible dramatic effect of the movie and the emotional stakes fail to further increase. However, given the whole concept of the movie, this is easily to be forgiven as Leclercq has obviously decided to keep his movie the closest possible to being a true non-fictional delivery. With its simplicity, straight-forward approach and breath-taking pace, The Assault has managed to achieve what most of the similar Hollywood productions failed: to seem cool-bloodily realistic, to hold its stunning grip on the audience every single minute and to become an outstanding example of the movies of this genre. Undeservedly criticized by the American critics (quite understandably, in my view), The Assault is a formidable French example of how a terrorist/hostages thriller should be made!

Cameron J (it) wrote: I would sarcastically say that it's a big surprise to see Robert De Niro in an epic by a mid-to-late 20th century Italian filmmaker, but it's kind of easy to forget those other Italian epics that featured De Niro, not necessarily because this film tops, say, "The Godfather Part II" or "Once Upon a Time in America" in terms of quality by an immense margin ("The Deer Hunter" was good, too, but jeez, Michael Cimino, pick up the pace a bit), but because it tops most epics starring, well, anybody in terms of length by an immense margin. Hm, we're looking at a cast featuring Robert De Niro, Grard Depardieu, Donald Sutherland and Burt Lancaster, symbolism-heavy reflections of subject matter dealing with Italian politics of the 20th century, and a 316-minute runtime, so do you reckon that this film might be a little bit ambitious? Well, I reckon Bernardo Bertolucci figured out how to make a film that is somehow longer than the fabled original cut of "Last Tango in Paris", though it's debatable whether or not this film is more [u]over[/u]long, because this five-hour-and-a-quarter-long epic chronicles the entire lives and time of two men facing political intrigue, warfare and all sorts of other juicy material during conflicts that extended throughout a European civilization, and quite frankly, I don't know what you can do to fill out four hours and a quarter of Marlon Brando and Maria Schneider having an affa-oh, wait. Hey, this film also had some trouble with the ratings boards, so it's hard to not get a little bit concerned that this film may end up being five hours and a quarter mostly of sexual intrigue, rather than political intrigue, but no, this epic isn't that much fun, or at least that's what most critics have been saying. I for one found this film to be pretty entertaining much more often than not, as well it should be, because, I repeat, [b][u]"316 minutes"![/b][/u] Man, the film's a little bit old and is so anti-commercial that it ranks among some of your longer feature films ever, and plenty of critics, even in retrospect, aren't that crazy about this thing, and I can't say that I'm completely blind to the complaints. Don't get me wrong, this film is three hours and a quarter spent well and all, but the point is that this film has more than enough time to meet quality with shortcomings. Keeping itself occupied with plenty of intriguing and atmospherically flavored up material, this film is, like I said, generally pretty entertaining, which is good, considering the final product's overwhelming length, and yet, considering this length, the film, as you can imagine, perhaps has more opportunities for atmospheric meditativeness than it needs, so it's only a matter of time before all of the thoughtful steadiness in atmospheric pacing stops soaking up intrigue and starts to really limp out, blanding things up a bit, and occasionally even dulling things down. Do note that I just said that this film is "occasionally" rather dull, because as excessively sprawling and atmospherically chilled as this film is, particularly limp slow spells are more limited in severity than they are sparse, so an even more problematic aspect to storytelling is, as irony would have it, the moments that are much less ponderous and much more, if you will, "fluffy", because as much as the film wants to be taken seriously and can, in fact, be taken seriously, there is plenty of corny comic relief and overly lighter moments, anchored by questionable dialogue and character behavior which can also be found within the dramatic material. The film is frequently genuinely compelling, but its often mighty melodramatic plot is far from consistently genuine, offering very manufactured-feeling conflicts and even characters who may be well-rounded and well-portrayed enough to be thoroughly compelling, but feel kind of superficially drawn in plenty of key areas, and betray attempts at thematic subtlety found throughout this symbolism-heavy drama almost as much as anything from gratuitously blatant overemphasis on disturbing or sexual imagery, to a rather overblown atmosphere. The passion that director Bernardo Bertolucci pumps into this film is very noble, and it carries the final product quite a distance, but for every moment in which Bertolucci charges effective areas in storytelling, he charges a questionable area, as he is just too ambitious for his own good, and arguably no other aspect reflects that more than the film's length. I have been saying it time and again throughout this review, and I'm going to say once again that this film, at its apparently most realized, runs five hours and a quarter, and I'm sorry, but that is just way too blasted long, for although this film's subject matter has plenty of sweep to it that Bertolucci takes more than enough time fleshing out, the excessively steady plot structure makes the rises and falls in narrative relatively sparse, and leaves the final product to often wonder down a dragged out path repetitiously, maybe even aimlessly. The film is certainly quite the investment, and one that the patient will find paid off with compellingness through and through, though not as much as Bertolucci clearly wants to deliver, for although the final product proves to be rewarding, - like you would hope it would be, considering the immensity of the subject matter - dry spells, cheesy spells and aimless spells betray the final product's potential and drag it short of what it could have been. Still, what the final product ultimately is is worthy enough to bypass its shortcomings as thoroughly engaging, as well as artistically sharp. Why, this 1970s Italian epic just wouldn't be complete without a score courtesy of the great Signor Ennio Morricone, no matter how unevenly used it may be, and you best believe that I'm glad to be faced with that predictable aspect of this film, for although Morricone's musical efforts are, as I just said, unevenly played up, as well as relatively formulaic as one of your more notorious Ennio Morricone soundtracks, they consistently boast enough of Morrione's distinctly lovely taste in subtle dynamicity, lightly sweeping heart and classical kick to be both beautiful by their own right and complimentary to the film's atmospheric depth and artistic value. Of course, compliments to the artistic sharpness of the film also extend to visual style, because as surely as Morricone was one heck of an Italian score composer for his time, Vittorio Storaro was one heck of an Italian cinematographer of this time, as he firmly reminds you in this film, not just with a stylishly airtight taste in shot staging and scope that is both grand enough to capture the scope of the sweeping subject matter's broader areas, and intimate enough to draw you into the more human depths of the film's visuals, but with a pronounced taste in color and haunting lighting that often leaves the film to almost resemble a painting. Considering the names behind artistic punch-up, the film's musical and photographic styles are as lovely as you might expect, and such artistic inspiration helps in defining the film's depth, but only helps. What can truly make or break this film is its storytelling, which must be inspired in order to do justice to subject matter this immense and layered, and is, even on paper, because no matter how bloated and heavy-handed Franco Arcalli's and Bernardo and Giuseppe Bertolucci's script is, it often compensates for questionable areas in characterization with unapologetically exhaustive expository depth that fleshes out memorable and compelling, if sometimes hard to buy characters, brought to life by strong performances. I suppose Donald Sutherland steals the show with his thoroughly charismatic, subtly intense and all around committed portrayal of an unsubtle- I mean, sleazy, disturbed and all around questionable fascist revolutionary, but there are commendable performances throughout the film, particularly those of leading men Robert De Niro and Grard Depardieu, as well as a particular offscreen one. Bernardo Bertolucci, as director, is, of course, startlingly ambitious, and such passion not only emphasizes the areas in which the film falls short, but inspires questionable storytelling moves that further hold the promising effort back, yet at the same time, the heart the Bertolucci backs his meditative storytelling with soaks up the value of this story every bit as much as it soaks up the flaws in storytelling, and let me tell you, there is much value to this imperfectly told story. I don't know if I would necessarily call the film a mess, but it has messy areas and is just too promising - both in terms of potential and making promises - for you to ignore the shortcomings, and that's a shame, because with this filmmaking team, length and subject matter, we could have seen some pretty powerful cinema, rather than this flawed flick that is still quite rewarding, challenging the audience, not simply with shortcomings, but with audacious strengths, and those willing to run with this undeniably inspired epic may not find an outstanding final product, but will most likely be compelled through the thick and thin found throughout a thick runtime. When it's all said and... I think done (It's hard to figure out when this film ends), overwhelming ambition both emphasizes and is betrayed by some slow spells and some questionable moderate cheesiness within both lighter areas and a melodramatic story, while granting the film a sprawling length that sends the film aimlessly wandering along, giving you time to soak up the other problems, until the final product falls short of what it could have been, yet still thrives as rewarding through the lovely score work and cinematography, well-fleshed out writing and inspired performances - both on and off the screen - that make "1900", or "Novecento", an entertaining and thoroughly engaging epic whose bloating goes matched by compellingness. 3/5 - Good

Christo S (jp) wrote: Very moving film. Hardly any dialogue but it is all about survival. Japanese cinema rocks!

Brian B (ru) wrote: Pretty much one of those movies that tries to scold parents into raising their children better. Thanks to Mystery Science Theater, it got its just deserts.

Ben L (br) wrote: Christmas in July is a charming little film from the 1940s. It is not a holiday film, despite the title. It is the story of a coffee company that is holding a contest to select a new slogan, and a young man who believes he has won this contest. It is one of those films built around one small misunderstanding blowing up into larger and larger issues. Naturally hilarity ensues, and in classic Hollywood style everybody lives happily ever after (well almost everybody.) I enjoy the simplicity of this movie. It makes me feel nostalgic for the "good old days" of cinema when you could just tell a nice story and everyone could walk away with a smile on their face, without having to delve into a dark subplot and a dramatic twist at the end. What is surprising is the fact that, there also seems to be a bit of a statement being made here about the frustrating nature of the corporate world. It's almost like they're using this whole ad slogan gimmick as a way of satirizing the business world, as well as the advertising industry. I like that it has that kind of edge to it, because it gives some added weight to what is otherwise a light and fluffy story.Because this movie is so small it relies almost entirely on the writers and the actors to provide a good product. I appreciated the wit of the story and some of the humorous moments the writers created, but I think the primary reason I found Christmas in July to be successful was the acting. Dick Powell was pretty good as the protagonist with a heart of gold. His portrayal of Jimmy is very "head-in-the-clouds" and he cares a lot about the people around him too. I don't think Ellen Drew was given much to do with her part as Betty, but she delivered her final speech with enough impact to make it work for me. The real great performances, however, came from the supporting cast. Raymond Walburn is hilarious as Dr. Maxford, Ernest Truex is great as Mr. Baxter, even William Demarest's small role as Bildocker was fun to see for a couple of scenes. If you like these older black-and-white comedies I'd recommend Christmas in July. Besides it's only 67 minutes long, so what have you got to lose?

Daniel G (kr) wrote: it's as real as america gets, and i am atonished to recommend this as the best documentary i've ever seen. crumb might be infatuated with trash, but he is an extraordinary man(maybe not).

MariePier D (ca) wrote: Je m'attendais plus un vrai film d'horreur d'ados, mais c' (C)tait plutt inoffensif... Je l'ai aim (C) mais je pensais voir plus de sang et d'horreur! C' (C)tait un bon suspense policier.

WS W (mx) wrote: The crudeness from the early 1990s Aussie Cinema, simple & direct enough though.

Jason S (jp) wrote: unbelievable, but watchable B+ movie

Kate A (gb) wrote: i love a good, old 80's action movie for nostalgia purposes... but this movie is quite frankly shit.