All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
Everything you've heard is true!
A Hollywood studio executive is being sent death threats by a writer whose script he rejected - but which one?
Heavily cynical, frequently funny and strangely thrilling, Robert Altman's biting satire on Hollywood and film industry is one of the most provocative works of art ever filmed. Opening with an iconically long & honorable shot and closing with one of the most memorable and cynical endings I've ever seen, The Player is one of the weirdest, yet bravest and most intelligent American comedies ever created—it's one that doesn't waste a minute with superfluous elements, even if it takes us two hours to understand the purpose of one or two apparently useless plot points.
Tim Robbins stars as Griffin Mill, a Hollywood studio executive who is being threatened with death by one of the screenwriters whose script he rejected. Wrapped in a…
What is so brilliant about The Player is the way the story is set and displays the mythos of Hollywood while critiquing the business side of the film industry and hiding its own story in Hollywood conventions. On first glance you could take this picture as stated in the synopsis as a Hitchcockian murder mystery with a bunch of Hollywood insider jokes. And while that is true and you would certainly have to be a film connoisseur of sorts in order to understand some of these tidbits; the beauty in layers goes much more beyond than just that.
Almost like a painting on canvas with the murder and love story on the foreground it is in the background that cannot…
The Player is a Hollywood satire which, as all great satire does, looks less like satire today than it did when it was made.
Tim Robbins plays Griffin Mill, a big studio producer worried about being pushed out of the business by younger talent. He's been receiving death threats via postcards from a writer he snubbed at some indeterminate point in his career. When he thinks he's found a lead, he goes out to investigate and ends up killing a writer. He is forced to cover up his crime while maintaining his position at the studio and juggling his budding romance with—of all people—his victim's widow.
And for the most part, Griffin Mill is a pretty sympathetic guy. We all…
Haven't seen this since I was kinda a kid, and nowhere close to being able to fully appreciate all the little details and references, and shots even.
I especially loved how Altman uses Hollywood as a sort of narrative, as in the choice of posters for instance. Altman aims for the balls, sure, but he makes sure they're cuddled first.
Lovely sarcasm, and the ending is just right.
That might have been the best ending to any movie I've ever seen.
It's been a couple days now and I'm still wrestling with whether I enjoyed the film for all it's references and tie-ins and tributes to cinema, or if it was too obviously in love with itself. Nonetheless, even with it's flaws, it was a fun film to watch.
Tim Robbins was great here as the successful young studio executive Griffin Mill - even if he went from very cool to comedically bug-eyed and spooked out within seconds, not quite fitting his character. The signature distancing shots from Altman was nice to see - you become an observer sitting 2-3 tables away from the scene's focus with objects and others around naturally getting in the way. The payoff to this crime…
New Top 100.
This is Robert Altman. His films range from good to great to brilliant. "The Player" is brilliant. Let me put it like this: Mulholland Drive meets The Big Lebowski meets Barton Fink meets itself - which is a weird thing to say because this one comes before all of the just listed (1992). A must watch if you dig groovy Hollywood settings, fancy cars carrying shitty people, snakes in boxes, and satire inside a satire inside a satire. The Altman marathon is paying off.
This was amazing, and again another Altman film comes along and takes it's place as my favourite of his stuff. I've come to the conclusion that his films like Nashville and Shortcuts are not his strongest for me. This was a brilliant thriller, a great comedy and a hilarious satire all in one. Really playful stuff right from the opening with the long take that I didn't even realise was a long take until Touch Of Evil is mentioned by one of the characters walking through the shot. Hugely entertaining, the most fun I've ever seen Altman being. This was just wonderful in every way and up there with the best films of the 90's for me.
The 90's were an interesting time, to say the least. There was a real air of cynicism running through many films. Some for better, some for worse.
This is a case of not just better but BEST. What I find interesting about this film is that it's story doesn't take place in some predicted future. It's skewering the warped state of Hollywood just at that time. The kicker is that it's even more relevant now than it was back then.
This being my second Altman, I'm starting to realize he doesn't have so much a directing style in terms of shooting as much as his films all have a similar atmosphere. But the opening sequence is one of the most…
Robert Altman has never been more self aware, Hollywood practically got it's guts torn inside out. I love seeing a film break the divide between character, actor and what role they have in film. In a moment of self relexivity you get the checklist for the film, that suits the film perfectly...
"Griffin Mill: It lacked certain elements that we need to market a film successfully.
June: What elements?
Griffin Mill: Suspense, laughter, violence. Hope, heart, nudity, sex. Happy endings. Mainly happy endings.
June: What about reality?"
It's great seeing so many cameos scattered everywhere and it's even better knowing they did it for free and improvised. It's a very clever movie, with stellar camerawork and great arcs for it's brilliant characters.
- The best documentary about Hollywood that i've ever seen.
Saying something hasn't aged well is by far my biggest pet peeve of criticism. It's lazy and seems counter to cinema's defining characteristic: being a document of a particular moment in time (yes, even true of period pieces).
But wow, 1992 as rendered here was an absolute aesthetic wasteland. Maybe that's part of Altman's social critique, but it became distracting, making all the characters so gawdy and clownish that I couldn't really think of them as people at all. Ok, now I'm sure Altman did this on purpose.
My second taste of Altman after the disappointing Gingerbread Man, and I'm happy to say that this one offers a lot more evidence of Altman's directorial skill than that film.
The Player is a witty satire, filled to the brim with enough in-jokes, references and cameos to make any film buff happy. But while doing that, it also offers a pretty engaging story, anchored by Tim Robbins and a flawless supporting cast.
The story could've used a bit more focus and a bit less meandering, but overall this was a very enjoyable watch for me. See it for the Richard E. Grant storyline, if nothing else.
Every film that has ever been nominated for an Academy Award in any category. Enjoy!
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…