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.
**tripping over ourselves** While there's no cinematic equivalent to the Mona Lisa, I submit a list of the top ten American movies of the last 50 years in no particular order: The _Godfather_, _Apocalypse Now_, _Raging Bull_, _Pulp Fiction_, _Blade Runner_, _Raiders of the Lost Ark_, _Mulholland Drive_, _Tree of Life_, _Boyhood_, _Short Cuts_. Whaaaaaa... _Short Cuts_? Is it even Altman's best work? Well, everything unique and original in the other movies on this list was done before... by Altman. (Is there anything the man hasn't tried?) And everything Altman achieved in his career can be summed up in _Short Cuts_. Five of the entries on my list are genre intact: gangster, war, bio, sci-fi, adventure. Lynch is a genre of his own (a master of hook and subvert), _Pulp Fiction_ is pomo-noir with a swagger, _Tree of Life_, an audacious and transcendent poem, _Boyhood_, literally an epic achievement of dedication and commitment. _Short Cuts_ doesn't seem to fit in as it is merely an observation of lives and love. But what observations! What lives! What heartbreaking affection. All underscored with a resonating heartbeat patching into so many paths, teetering on the brink of disaster and threatening to explode, which it does, in the form of a climactic planetary stroke. Nothing brings people together quite like a natural disaster. An earthquake, tremoring just enough to inform us of our place in history on the cosmic map. Enough to bring us down to earth, reboot our egos, and put multiple perspectives in perspective. Enough to appreciate the simple state of being. A larger-than-life baroque master is at the helm, warbling out contrapuntal narratives and swirling themes orchestrated to perfection. Multiple story-lines wavering under one very singular umbrella. And under Altman's protective cover the talent runs free and easy, playful and experimental, ironic and sincere. The key characters in one story become walk-throughs in another, paradoxically tethered and disconnected from the self, from family, community, and life. Boundaries are crossed and souls get lost. We're all the same if only by not knowing what our needs are or why we're even here. With nothing to say except everything is exceptional, infinite and empty. And life is short. Shorts Cuts of scenes stories words actions desire love loss lies lust faith wonder and devotion. Heck, I'd see it again only to watch Tom Waits and Lily Tomlin shack up. Some movies claim to be infinitely entertaining, some maintain they can be viewed repeatedly without losing their initial charm, some insist they never age, I know only one that can lay claim to all such conceits. _Short Cuts_ is like falling in love. It delivers quietly, wonderfully, naturally, tenderly, simply and deeply.