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100It's a joy. Altman does Dallas the way he did "Nashville" in Nashville or Hollywood in "The Player."
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100Altman always manages to pop up with another masterpiece -- and darned if he hasn't done it again.
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88Altman and Rapp skirt the fine line between satire and caricature, stopping just short of ridiculing the women who pack Dr. T's office.
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83Funny and ebullient look at a man in full confusion.
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80Altman orchestrates Dr. T's odyssey with the precision, heart and lively wit of a virtuoso.
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80Altman gladly admits there's not much of a story here; his movies are driven by characters.
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80Rapp is clearly in sync with Altman's peerless sense of rhythm and knows how to write incisively and economically for Altman's cherished large ensemble casts.
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80The movie's sexual politics are as contrived as its plot, which veers off into one of the surprise endings of which Mr. Altman is so fond.
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80A giddy ballet in which the women whirl around a still, clueless man.
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75Altman would never admit this, but I believe Dr. T, the gynecologist in his latest film, is an autobiographical character.
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75Some will dislike its shaggy-dog screenplay and restless camera work, and others may find its finale too postfeminist for comfort.
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75Gere has never been better cast.
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75One of the curmudgeonly director's sweetest films, and features one of Richard Gere's most affecting performances.
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75Provocative, audacious.
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75A finely coiffed, cream-cheese "8 1/2" remix with Gere, a Marcello Mastroianni for Oprah Winfrey times.
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75A comedy of chaos, an ensemble comedy, with characters swirling around one another unaware, in their uniform desperation, of how funny they are.
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70Gere breaks through with what may or may not be his best performance.
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70If you skim along the surface of this movie, you'll have more fun than if you submit the movie to scrutiny.
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70Prior to its hyperbolic final act, this is one of Robert Altman's most skillful and least bombastic features in some time.
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68A jauntily entertaining ride.
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63The movie that pretends to celebrate women devolves into the complaint of a wronged man.
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63The movie's pleasures extend even to the visuals, which are more lustrous than in any other Altman movie.
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63This would be an excellent movie from a first-time filmmaker, but from one of America's premiere directors, it's a disappointment.
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60Rapp's snappy, loquacious and catty script gives the predominantly female ensemble plenty to chew on.
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60Almost all of the movie's romantic lunacy is too calculated and sly; the picture never quite sweeps us away.
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60A flabby farce in which everyone seems to be making it up as they go along.
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60It's a terrific showcase for Richard Gere, Shelley Long, Farrah Fawcett and a number of other actors who almost seemed to have been written off.
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60Altman is just as nastily misogynistic as ever.
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50The film's blithe misogyny soon becomes wearying; it refuses to see women as more than the sum of their private parts.
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50Belongs somewhere in the low middle of Altman's output -- not up to "Cookie's Fortune," but way better than, say, "Beyond Therapy," which remains his worst film by some margin.
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42Bad comedy.
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40Though it starts out as amusing satire, the jokes become as neurotic as Dallas' female population, and the film spins out of control in every way.
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30The comedy is often harsh and cruel.
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30About the only good thing to say about this mess is that it's rotten enough that even Altman cultists may be forced to reconsider their devotion.
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30Though it's allegedly a comedy, there is nothing funny about this tasteless, shallow and mean-spirited slam.
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User score distribution:
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Positive: 3 out of 13
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Mixed: 2 out of 13
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Negative: 8 out of 13
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ChrisH.1
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FrankO.5
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JaredSS5