Bluray was meant for the grand, beautiful classics of the film world: your Lawrences of Arabia, your Two Thousands One. But it has also done a service to a different, much less distinguished kind of film. It has recovered the shocking ugliness of films like Two-Minute Warning.
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.