Shooting in his habitual indolent zooms (and reverse zooms) and telephoto pans, through a half-blinding dust storm, Robert Altman here recycles the "critically acclaimed" formula of Nashville and The Player -- and, without the acclaim, The Wedding and Health -- in the different setting of Parisian haute couture: a herd of famous faces (oh, look, it's ... Kim Basinger, Tim Robbins, Julia Roberts, Lyle Lovett, Marcello Mastroianni, Sophia Loren, Tracey Ullman, Sally Kellerman, Teri Garr, Lauren Bacall, Anouk Aimée, Harry Belafonte, Cher, etc., etc.), milling around in a fragmented party atmosphere of uniform superficiality. Stephen Rea, playing a contemptuous sunglassed Irish fashion photographer, scores the most, or at any rate the cleanest, points. But Kim Basinger, barn-broad in the part of a prattling Leeza Gibbons and/or Mary Hart TV interviewer ("Milo, you've had a lock on the look of the Nineties for decades"), would be the most representative, most emblematic, most symptomatic, cast member. And she -- the character as much as the actress -- is not as far off from the filmmaker himself as might be supposed. In his avid gravitation to celebrities, scads and scads of them, and his restless circulation among them, Altman is undetachably a part of the cultural scene he presumes to mock; he's not apart from it. As in The Player in particular, this hobbles him as a satirist. This, and his not totally convincing affectation of cool. (1994) — Duncan Shepherd
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