This movie is the proof that the world is becoming a sick and dumb place

For all the hype it got I was expecting a lot more!

Like the great film, it's made with a great deal of visible affection both in front of and behind the camera.

It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Robert Altman can be many things. He can be warped, sarcastic, biting — but he can also be affectionate and understanding. His best films often combine these characteristics with slippery perfection, especially when putting the satirical "The Player" or the balmy "Thieves Live Us" into consideration. I, however, prefer him when he's gazing upon his characters with head-shaking fondness. Certainly, "Cookie's Fortune" isn't comprised of saintly characters — but unlike "Short Cuts" or "Nashville", only a few of the players are wholeheartedly f-cked up, giving us less time to analyze potentially devilish psyches and more to relish the tight, almost familial bonds between the ever compelling characters. It's one of his most impeccably entertaining films.Set in a minuscule Southern town defined by colorful people, sweaty heat, and catfish, in that order, "Cookie's Fortune" details the sudden death of Jewel Mae "Cookie" Orcutt (Patricia Neal), an elderly widow tired of living alone and tired of her mundane life. So without much thought, she grabs a gun out of her impressive arms closet, flops onto her bed, places a pillow over her face, and shoots herself in the head. Her niece, Camille (Glenn Close), won't have it. A wannabe playwright with a fondness for cranking up her every emotion by a few thousand notches, she is disgusted by her aunt's carelessness: it will bring shame upon the family, and, most notably, it may even upstage her upcoming play. Consumed with dramatic audacity, she arrives at the scene and decides it would be best to make the suicide actually look like a murder: why not? She runs around the house pretending she's a giallo fiend, breaking windows, stealing valuables, eventually running out the back and throwing the gun into some bushes like Joan Crawford might have during her 1950s-set film noir years. She persuades her dimwitted sister, Cora (Julianne Moore), to go along with the charade, not realizing that covering up a suicide isn't just some cutesy thing mercurial nieces do for fun. It could lead to, you know, trouble.Immediately, Cookie's best friend and confidant, Willis (Charles S. Dutton), is locked up at the local sheriff's office under suspicion, Cora's estranged daughter, Emma (Liv Tyler), keeping him company while also utilizing the opportunity to have closet sex with her cop boyfriend (Chris O'Donnell) to pass the time. No one, including the men who arrested Willis in the first place, believe he's the murderer — which casts further suspicion onto Cookie's weirdo nieces.But "Cookie's Fortune" isn't a conventional crime movie, preferring to use its titular figure's sudden offing as a way of throwing the Mississippi set town off course and seeing how its residents handle the travesty. Anne Rapp's screenplay always retains a certain sort of comic lushness that makes the intersecting situations ceaselessly delightful while also maintaining a sort of broad realism. These people certainly could exist — not all realism based films have to be dirt-on-the-ground miserable — and "Cookie's Fortune" is all the more fun for it. Close is a bundle of laughs, delivering off-color lines like an unintentional comedy pro, Neal ensuring why Cookie was such a vital part of her town's life. Dutton is one of Altman's sweetest scene-stealers, and Tyler, in a terrific performance, is a consistent pleasure as a free-spirit that seasons the oft conservative setting of the film.Most consider "Cookie's Fortune" to be minor Altman, but I think it's underrated Altman. He regularly goes deep with his films, finding ways to mirror the lives of his flawed characters with our own. But "Cookie's Fortune" is such a delicacy because it's breezy, amusing without any existential kinks. He sets scenes with a sort of nostalgic reverie, figuring that small town America isn't all "Twin Peaks" and can still preserve the same sort of complicated magic of a '70s era sitcom. We watch the characters converse wanting to be a part of their community, either because the friendships seem everlasting or because the disdainfulness is comical rather than harmful. Most would want to get out of the town "Cookie's Fortune" sets itself in right away — not me. I'd like to hole up there for a while, collect my thoughts and have conversation about the good things in life instead of the high drama that shapes the metropolises of America. Lightweight Altman may not be everyone's favorite, but I tend to prefer a grizzled filmmaker when he's enjoying himself. So maybe "Cookie's Fortune" is an accidental masterpiece — it's an underrated moment in his lustrous career.

Says lawyer Jack Palmer to Emma Duval, explaining the fate of her long gone father, a man she was told years ago had died while doing missionary work in Africa after he'd left his family. "He died alright, about four years later, somewhere down in Alabama in a button factory accident. Seems the hole poker machine broke loose and fell on him. They say he had 273 holes in him before they could get it off." After all that Emma and her friend Willis Richland have experienced in Robert Altman's Cookie's Fortune, it seems perfectly natural when Emma cries out in exasperation, "Willis, what is wrong with all these people?" The important point is that they all are part of a movie of great ease and geniality. Cookie's Fortune may be a little sentimental, perhaps, but it is so sweet-natured and natural, and so skillfully presented, that I think the film ranks among Altman's most accomplished works...even if what powers it is an old lady blowing her brains out. Jewel Mae Orcutt -- Cookie (Patricia Neal) - is aging and increasingly infirm, and she longs for her deceased husband, Buck. When she decides to use one of Buck's pistols to join him, she sets off the avarice of her niece, Camille Dixon (Glenn Close), who pulls along her slow- witted sister, Cora Duval (Julianne Moore). Camille is determined that no hint of a suicide will scandalize the family name, so she makes things look like a burglary gone bad. And, unintentionally, makes it look as if Willis Richland (Charles S. Dutton), a close friend of Cookie's who had worked around the house for her, must have done the deed. Well, there's no way Emma Duval (Liv Tyler) an unconventional young woman who is seriously estranged from her mother, Cora, and her aunt, is going to buy that. In fact, no one, even the local cops, believes that Willis would have burglarized and shot Cookie. For the next hour and a half we're going to take part in Altman's gentle examination of the people in this little cotton-growing town of Holly Springs, Mississippi. We're going to learn how to clean catfish, listen to the blues and, a little off camera, how to make love standing up. We'll encounter Camille's obsession with propriety and look aghast at her firm direction (and rewriting) of Wilde's Salome as a church play for Easter. We're going to see how skilled Lyle Lovett is at gutting a catfish and peeping into Liv Tyler's window at night. We're going to learn a lot about family relationships, even the more informally blessed kind. Most of all, perhaps, we're to learn just how much friendship and family can mean, especially when it's served up with such skill and off-beat humor by Altman and screenwriter Ann Rapp. And as good as all the actors in this ensemble cast are, Charles S. Dutton stands out. He gives a fine performance brimming with likability and honesty, and without a trace of Hollywood nobility. Willis Richland is a guy who has responsibilities, and that's just fine with him.

One might call Cookie's Fortune a 'minor' effort from Robert Altman, a filmmaker who once commented that each film "is all part of the same picture", or rather one long movie with bits and pieces making up a career whole. But it has enough going for it through its very competent cast and interesting script to keep it afloat from being the kind of small film little old ladies might watch on TV during the day. In that sense it isn't as 'heavy' as some of Altman's other work. It is also cool enough to treat the subject of a mystery around a suicide with enough humanity to make some scenes smile-worthy. Considering some of the darker elements in the script, Altman depicts this to the point where- get this- Cookie's Fortune is sometimes shown on the HBO family channel! Is it really a kid's film? I'm not sure, but it isn't work for only one age group- its appeal from its cast of a collective of small towners is appealing to most in the audience. That the cast- Glenn Close, Liv Tyler, (especially) Charles S. Dutton, even Chris O'Donnell- gels and plays some of the dialog sincerely even when its meant to not be taken seriously at all, is a credit to the filmmaker. That it also might not be quite as memorable as some of the director's major films is and is not a fault. It is a fault because the subject matter is sort of stuck in a certain genre realm. It is not because the subject mater is also very much more intelligent than would be expected at times. I was also fond of certain scenes and interactions with the actors, the rhythm of it all, like early on with Dutton and the actress Patricia Neal who plays the old lady. I also really like the climax. So it's a good work about the rumblings and eccentricities of a small town, the good in people as well as the lesser parts, and parts of greed and death seen through a light that is not aiming for anything 'cheap', so to speak.

I have to be honest and confess that I'm not a Robert Altman fan . His movies suffer from being cluttered with too many characters having their own sub stories which detract from the narrative COOKIE'S FORTUNE can be used as a good example . For the first half hour of the movie we're introduced to the characters of a small deep south town called Holly Springs , yes that's right a film that lasts two hours wastes quarter of its running time on umpteen different characters . After this has taken place an event happens which sets up the main plot of where a black man is blamed for something he didn't do and if you're able to stay awake at this point you're doing well Did I mention this was a comedy ? I thought I have to mention it since some people might be confused that this might be some type of hard hitting drama like IN THE HEAT OF THE NIGHT and the movie continues in the same type of unlikely manner of blackly comical characterisation and plot twists . But if you like Altman you'll probably like this movie . I don't much and I didn't much