Gosford Park (2001)

The critic calls it Altman's best movie in years, praising the richly nuanced screenplay, ensemble cast and multi-layered exploration of British class and culture.

Altman delivers his most confident and accomplished work in nearly a decade by reconfiguring Renoir's Rules of the Game for pre-WWII Britain. The critic praises the director's skill at orchestrating large ensembles and capturing the sinister social codes of the rigid class system.

Altman crafts a high-style, witty genre entertainment rooted in social reality that reveals class and sex dynamics beyond Christie. The organic form and ensemble performances create a marvellous, bitter yet amusing portrait of English manners.

The film is an amusing amalgam of Agatha Christie plotting and Upstairs, Downstairs setting, with Altman’s large ensemble working effectively. Style, snarky dialogue and Maggie Smith’s imperious performance are the main attractions despite some length issues.

Altman turns the country-house murder mystery on its head with a multilayered, impeccably choreographed opening and sparkling dialogue from Fellowes' script, viewed from the servants' perspective. The critic praises the fine performances and huge cast but notes that Stephen Fry's detective and excess irony somewhat deflate the mood.

Altman's film is a light yet biting study of the English class system that filters Agatha Christie through Upstairs Downstairs. The critic singles out the director's camera work—wayward close-ups, mirrors, and cramped framing—for making the hierarchical divisions vivid and implicating.

The critic finds the film diverting at times but ultimately plodding, praising the fine cast while complaining about the slow pace and lack of depth in characters.

Altman uses the British murder mystery genre as a vehicle for a layered comedy about class, snobbery and character. The film is praised for its ensemble cast, intricate plotting and celebration of distinct social styles.

Content and style converge brilliantly in this terrifically accomplished ensemble piece that applies the murder-mystery format to a sharp analysis of 1930s English society and class change. The critic praises the stellar cast (especially Smith, Mirren and Watson) and Altman's detached, sympathetic observation of upstairs and downstairs alike.

The critic praises the film's witty, detailed script by Julian Fellowes and Altman's ensemble direction, highlighting the sparkling performances especially by Maggie Smith. The murder mystery element and ending are seen as weaker and less insightful than the class satire and acting.

Altman delivers a virtuoso ensemble piece evoking Upstairs, Downstairs and Agatha Christie whodunits. The film excels in period detail, pitch-perfect performances and its wry take on English class snobbery.

Altman's venture into Agatha Christie territory works a treat thanks to respect for Fellowes' witty screenplay and a glittering cast that keeps the large ensemble clear. The critic singles out the satire on class affectations and cruelties for praise while noting minor plot clarity issues.

The critic praises Altman's skill in galvanizing an exceptional ensemble cast into a living, breathing entity through clever, choreographed filmmaking. They highlight the brilliant intertwining of multiple stories and characters without confusion, while noting the witty dialogue and human tragedy beneath the surface.