In his supposedly ‘lost’ decade, Robert Altman followed ’82’s Come Back To The Five And Dime with another mono-set theatrical adaptation. David Rabe’s play sees joshing, jarring, boozing and rather shouty soldiers pump up for the Vietnam War. It looks schematic on paper, drawing a societal cross-section in which the hick, the gay man, the African-American and the bullish grunt map out the terrain of US masculinity. But crackling dialogue, intuitive camerawork and full-blooded (if LOUD!) performances lend vigour to the over-determined plotting.
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