Short Cuts 1993 123movies

Watch: Short Cuts 1993 123movies, Full Movie Online – While helicopters overhead spray against a Medfly infestation a group of Los Angeles lives intersect, some casually, some to more lasting effect. Whilst they go out to concerts and jazz clubs and even have their pools cleaned, they also lie, drink, and cheat. Death itself seems never to be far away, even on a fishing trip..
Plot: Many loosely connected characters cross paths in this film, based on the stories of Raymond Carver. Waitress Doreen Piggot accidentally runs into a boy with her car. Soon after walking away, the child lapses into a coma. While at the hospital, the boy’s grandfather tells his son, Howard, about his past affairs. Meanwhile, a baker starts harassing the family when they fail to pick up the boy’s birthday cake.
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Ratings:

	7.7/10 Votes: 45,315
	95% | RottenTomatoes
	79/100 | MetaCritic
	N/A Votes: 471 Popularity: 10.772 | TMDB

Reviews:

**tripping over ourselves**

While there’s no cinematic equivalent to the Mona Lisa, I submit a list of the top ten American movies of the last 50 years in no particular order:

The _Godfather_, _Apocalypse Now_, _Raging Bull_, _Pulp Fiction_, _Blade Runner_, _Raiders of the Lost Ark_, _Mulholland Drive_, _Tree of Life_, _Boyhood_, _Short Cuts_.

Whaaaaaa… _Short Cuts_? Is it even Altman’s best work? Well, everything unique and original in the other movies on this list was done before… by Altman. (Is there anything the man hasn’t tried?) And everything Altman achieved in his career can be summed up in _Short Cuts_.

Five of the entries on my list are genre intact: gangster, war, bio, sci-fi, adventure. Lynch is a genre of his own (a master of hook and subvert), _Pulp Fiction_ is pomo-noir with a swagger, _Tree of Life_, an audacious and transcendent poem, _Boyhood_, literally an epic achievement of dedication and commitment. _Short Cuts_ doesn’t seem to fit in as it is merely an observation of lives and love. But what observations! What lives! What heartbreaking affection. All underscored with a resonating heartbeat patching into so many paths, teetering on the brink of disaster and threatening to explode, which it does, in the form of a climactic planetary stroke. Nothing brings people together quite like a natural disaster. An earthquake, tremoring just enough to inform us of our place in history on the cosmic map. Enough to bring us down to earth, reboot our egos, and put multiple perspectives in perspective. Enough to appreciate the simple state of being.

A larger-than-life baroque master is at the helm, warbling out contrapuntal narratives and swirling themes orchestrated to perfection. Multiple story-lines wavering under one very singular umbrella. And under Altman’s protective cover the talent runs free and easy, playful and experimental, ironic and sincere. The key characters in one story become walk-throughs in another, paradoxically tethered and disconnected from the self, from family, community, and life. Boundaries are crossed and souls get lost. We’re all the same if only by not knowing what our needs are or why we’re even here. With nothing to say except everything is exceptional, infinite and empty. And life is short. Shorts Cuts of scenes stories words actions desire love loss lies lust faith wonder and devotion. Heck, I’d see it again only to watch Tom Waits and Lily Tomlin shack up.

Some movies claim to be infinitely entertaining, some maintain they can be viewed repeatedly without losing their initial charm, some insist they never age, I know only one that can lay claim to all such conceits. _Short Cuts_ is like falling in love. It delivers quietly, wonderfully, naturally, tenderly, simply and deeply.

**A huge cast full of familiar names, where each one does their job very well… but without commitment, without emotion and under a script so intricate that it leaves anyone lost.**

I’m usually very critical of movies with bad or weak scripts. It’s a recurring problem in cinema. This film, however, makes the opposite mistake: the script is excessive, it has so many characters and so many interconnected sub-plots that it is almost necessary to make diagrams and schemes on a board to be able to follow what is happening. I got almost halfway through the movie and I didn’t really know who was who.

The film begins with a fleet of helicopters spraying something over the skies of Los Angeles. I, who was very young when the film was made, had to do some research to realize what they’re doing: spraying an insecticide to fight flies, something I had never seen in the middle of a city. Then the film begins to introduce us to a multitude of characters and their everyday stories: we have several middle-class couples, each with the problems of their lives, we have a limousine driver married to a cafeteria worker, the pilot from one of the helicopters, an erotic line operator who has a husband and children… and we follow the daily problems of these couples and families. The film tries to give us a portrait of ordinary people and their lives, but it does so in an excessively dispassionate and uncompromising way, failing to convey the emotions of the characters, with whom we have no particular connection. The only sub-plot that tries to go through the most emotional way (that of the child) turns out to be so melodramatic that it loses credibility.

Technically, this film is low-key and doesn’t bet too much on anything flashy. The cinematography is the standard used at that time, the special effects and visuals work reasonably, but not surprisingly, the sets and costumes are regular. The editing work was well done, but the film, with its three hours long, becomes a little tiring, mainly due to our inability to truly connect with the characters and what we see in the film.

What saves this film, in a decisive way, is the enormous cast of great actors, and the way in which each one, in a very individual way, does an excellent dramatic work. The film, in fact, looks like a showcase of the best Hollywood had in the early 90s. Bruce Davison, Fred Ward, Lily Tomlin, Tom Waits, Anne Archer, Andie MacDowell, Chris Penn, Robert Downey Jr., Lily Taylor, Madeleine Stowe, Tim Robbins, Jennifer Jason Leigh, Julianne Moore, Peter Gallagher, Matthew Modine, Frances McDormand… say a name, and he’s there! Each one in their role, each one trying to do the best, but each one for themselves. The film works very well as a dramatic exercise and allows each actor to show the best that he knows how to do. Even so, it lacks emotion, lacks commitment, lacks intensity.

One of my all time favorite films.
Well, I’ve watched this film about seven times now, and I feel quite certain that I can add it to the list of my favorite films alongside Dr. Strangelove and The Red, White and Blue Trilogy.

The casting is flawless, with fantastic performances by Jennifer Jason Leigh, Julianne Moore, Peter Gallagher, Frances McDormand, Robert Downey, Jr. and many (I mean *many*) more. The camera floats around the world of these characters with perfection, tapping each on the shoulder and providing precious and oh-so-interesting insight into their happiness (or lack thereof, for the most part), sadness and their emotions.

See this film. You will not regret it. I have my fingers crossed for a special edition DVD of Short Cuts.

Altman’s other truly great film
Nashville (1975) is canonically Altman’s masterpiece. Nashville pioneered the use of 8 track sound that was key to bringing Altman’s signature overlapping dialog to life. This coupled with the narrative open ended quality and Altman’s fly on the wall direction (liberal use of zoom lenses and free flowing camera) cemented the film as THE Altman film. So it says something that I think a real argument can be made that Short Cuts should be considered Altman’s masterpiece. I do not where I fall on the question but these two great films are pillars of America cinema.

Whereas Nashville’s exploration of Americana is bold, vivid and striking Short Cuts present its exploration of modernity’s isolation and alienation in italics. The Carver stories proved a fruitful ground to plant Altman’s sensibilities. The way the short stories are broke apart and integrated leaves each story precisely ambiguous enough to hit the correct note while yielding a cohesive, emotionally powerful whole. There is a soullessness to these characters that nonetheless have a humanity to them in the way they try to pass time-take short cuts-in the wrong way. I imagine that Carver fans might be displeased with the looseness of the adaptation but to me it is a perfect example of how source material can inspire. This is Altman’s rift on the Carver material; it is very much like a jazz variant on a classic melody.

Whereas Nashville was a leap forward in technique, Short Cuts is the work of a master who knows precisely how to paint a mosaic. The transitions between the various story threads are varied-some scenes are joined visually, some via dialog, some via concept-and the film’s pace never legs as a result. Films like this often feel episodic and disjointed but Altman as writer reshapes the stories to fit together and as a director he knows how to shoot an end of scene to flow freely into the next. The editing is a masterclass of juxtaposition to add thematic weight and to keep the momentum of the narrative going.

Nashville is angry and filled with acidic wit. There is some of that disillusionment in Short Cuts-how could there not be?-but much of the film is tempered by Altman’s aged compassion. Like I said I can’t say which film is better.

Oh and *of course* the acting is wonderful. Lemmon is in the film for all of 10 minutes but turns in a show stopping scene. But that is the least of the performances.

Other Information:

Original Language en
Runtime 3 hr 8 min (188 min), 3 hr 10 min (190 min) (Argentina)
Budget 0
Revenue 6110979
Status Released
Rated R
Genre Comedy, Drama
Director Robert Altman
Writer Raymond Carver, Robert Altman, Frank Barhydt
Actors Andie MacDowell, Julianne Moore, Tim Robbins
Country United States
Awards Nominated for 1 Oscar. 17 wins & 19 nominations total
Production Company N/A
Website N/A

Technical Information:

Sound Mix Dolby (as Dolby Stereo), 70 mm 6-Track (70 mm prints)
Aspect Ratio 1.78 : 1 (home media release), 2.20 : 1 (70 mm prints), 2.35 : 1
Camera Camera and Lenses by Panavision
Laboratory DeLuxe, Hollywood (CA), USA
Film Length N/A
Negative Format 35 mm (Agfa XT 100, XTS 400)
Cinematographic Process Super 35
Printed Film Format 35 mm (anamorphic), 70 mm (blow-up)