(1994)2Rachel DeahlRobert Altman's disappointing examination of the fashion world, while attaining the hallmarks of the director's celebrated body of work, lacks the intelligence and depth of these earlier films. With its large ensemble cast, divergent story lines, and arresting focus, Pret-a-Porter has all the trappings to follow in the footsteps of previous Altman successes such as M.A.S.H (1970), Nashville (1975), and The Player (1992). Unfortunately, this rambling, pointless tale never gels, much less forms any kind of worthwhile statement about its subject. Following a collection of models, designers, magazine editors, and journalists who have descended on Paris for the biggest fashion weekend of the year, Pret-a-Porter unsuccessfully attempts to infuse whimsical humor with social satire. If there is anything worthwhile to be said about the fashion industry, it is not to be found in these 130 minutes.