I don’t know what I expected Robert Altman’s NASHVILLE was, but not this. It’s about 2 1/2 hours, and it’s about Nashville, and it’s about America, and I don’t know what it’s about. It might be stretching it to describe it as having a plot. It’s a huge cast, too many characters for me to keep good track of, and it purposely doesn’t bother with explaining who they are. But I rarely felt lost or bored.
The characters are mostly people hovering around Nashville’s famous music industry (circa 1975). There’s an old country legend (Henry Gibson), a white gospel singer (Lily Tomlin), a black country singer (Timmy Brown), some rock n roll guys, some managers and associates and what not. And they’re all kinda buzzing around the same events: a ceremony for returning soldiers at the airport, a traffic jam on the way home, an outdoor concert, a fundraiser, a concert for an independent presidential candidate whose platform we hear blaring out of speakers all throughout the movie but whose face we never see. (read the rest of this shit…)
NOTE: It’s October now, and you know what that means: Slasher Search and horror review avalanche. I have saved some action reviews to include for variety and will do some new releases but otherwise I’ll be on a strict slashers and monsters diet for the next 31 days. But before we kick that off I really need to polish off an unfinished project from months ago. Way back in May I visited the state of Tennessee, I had a great time, wanted to write a little about it, and found an excuse, starting with this documentary about Dolly Parton fans.
This is gonna be short and mean, like a leprechaun. To be frankly honest I almost didn’t try to write a review of this one, because I didn’t think I had much to say. But I decided it was my moral obligation to warn everybody. The only thing necessary for LEPRECHAUN: ORIGINS to triumph is for men who have already seen LEPRECHAUN: ORIGINS to do nothing.
All things being equal, THE EQUALIZER is Denzel Washington’s 
Sometimes a man just has to walk among the tombstones, you know? Stroll within the grave markers. Saunter betwixt the memorials. Seagal did it in 
You know what I realized? I don’t love minimalism. I don’t hate it either, and I think it’s funny to watch normal people get upset and confused by one of these slow, quiet, ambiguous takes on what usually would be genre material. It’s not for everybody. But some of these things are real artful, and when they’re really rolling the relative lack of movie artifice helps get a potent atmosphere and tone and feel going like nothing else. But to be honest at the end when they wrap up they don’t usually feel like a full experience to me. They’re not usually my favorites, or things I’d want to watch again. But as far as they go, THE ROVER is a real good one.
First I gotta give you that dreaded warning that more than the usual amount of fun in this one comes from not knowing what type of movie it’s gonna be. Not like it’s some crazy rollercoaster or mindblowing, rug-pulling shocker of a twist or anything, but it mixes up genres a little bit and I’m glad I didn’t know where it was going. So you might want to do what I did and just know it’s from the director and writer of 
Many of us know Pai Mei from his strict teachings of Beatrix Kiddo. In 
or “What I Did With Charles Bronson On My Summer Vacation”
