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Short Cuts

Short Cuts

Drama · Comedy · 1993

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.

Movie details

Short Cuts

“From two American masters comes a movie like no other”

1993 Drama · Comedy 3h 8m

Critical arithmetic

One number, for now.

TMDB

7.2 / 10

Community rating

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.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Short Cuts?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Robert Altman

Written by

Robert Altman · Frank Barhydt

Andie MacDowell

Andie MacDowell

Ann Finnigan

Bruce Davison

Bruce Davison

Howard Finnigan

Jack Lemmon

Jack Lemmon

Paul Finnigan

Tim Robbins

Tim Robbins

Gene Shepard

Julianne Moore

Julianne Moore

Marian Wyman

Tom Waits

Tom Waits

Earl Piggot

Lily Tomlin

Lily Tomlin

Doreen Piggot

Court is in session

Put Short Cuts on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Popcorn Loyalist

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.