The Devil’s Hands Are Idle Playthings" leaps from television to opera while A Prairie Home Companion mingles cinema with radio. Like his penultimate film The Company, Altman’s final work is a radiantly transparent allegory for filmmaking, just as Futurama signs off with an affectingly crude holophonor projection evocative of the earliest forms of animation. Both end on a bare stage, acknowledging the abyss while winking at it.
Fernando F. Croce
March 20, 2014