Bad movies come in many varieties. There are the dull ones, the ones with continuity errors and sloppy technical aspects, the ones with howlingly bad performances. There are offensive ones, or ones that simply don’t work on their own terms. There are the ones whose sheer terribleness provokes amazement and joy – the “so bad, it’s good” entries in the cinematic pantheon.
Robert Altman strikes again. This will be the last one for a while, I promise.
As in his previous Song for a Sunday entries McCabe and Mrs. Miller and Popeye, Altman’s neo-noir The Long Goodbye leans so heavily on its idiosyncratic score for mood and meaning(s) that it’s hard to imagine the film without it.