Robert Altman is no stranger to making ensemble movies that are in no particular hurry to go anywhere (see Short Cuts). The renowned director's genius lies in his ability to still make them compelling viewing.

When her two estranged nieces (Glenn Close and Julianne Moore) pay a visit to borrow a fruit bowl, they discover her body and, not wanting to bring shame on the family, attempt to convince the police that she was robbed and murdered (hoping to inherit whatever they can into the bargain). So they stage the crime scene accordingly.
Once the investigation gets underway, Cookie's loyal friend and handyman Willis (Charles S. Dutton) is promptly arrested, mainly because he's regarded as being the most likely suspect, so enraging Cookie's favourite relative Emma (Liv Tyler), Moore's rebel daughter who has just returned to town. In fact, she's so incensed she even moves into his cell to keep him company. Conveniently, it's such a laid-back town that the cell door is kept open.
Life duly goes on as the police investigation continues. Inept sheriff's deputy Chris O'Donnell enjoys fumbling moments of intimacy with Tyler, Close puts the finishing touches to a church production of Oscar Wilde's Salomé and catfish supplier Lyle Lovett spends his days pining over Emma, who works in his shop.
Altman maintains the easy pace throughout and eventually, seemingly innocuous moments take on a new relevance as the pieces slowly begin to fall into place. All is finally revealed when the whimsical investigation being conducted by suave city slicker investigator Courtney B. Vance (who quickly becomes the object of at least two women's desires) draws to its rattling conclusion.
Apparently, most of the actors fell over themselves to appear in Altman's movie and his ensemble piece benefits from some fine performances, particularly Moore as the put-upon, faithfully obedient Cora, Dutton as the blatantly innocent Wild Turkey-swigging suspect and (perhaps most notably) Close as the manipulative, domineering, asset-grabbing Camille.
It's lazy, but it's a real grower, and the real twist is predictably, and satisfyingly, left to the very end, when all the deep dark secrets start tumbling out one by one. By this time, not only has the game of Scrabble taken on a whole new meaning, but Altman has proved that he is an undisputed master at drawing exceptional performances from his cast. His flair for handling serious issues with deft humour is also displayed in all its impressive glory.
The whole film, which benefits hugely from David A. Stewart's bluesy score, is neatly summed up by cop Ned Beatty, who gives Willis a final reel foolproof character reference and admits that his innocence was never really in doubt. How could he be so sure? Because, as he so succinctly puts it: "I've fished with him."

David Lichtneker