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 and 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…
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.
Takes down the movie biz smartly without being weighed down by heavy resentment or pettiness.
Casually digestible Altman- caustically cynical yet breezily funny.
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…
a little uneven, tons of great hollywood in-jokes and an ending that has me dying laughing while typing this. fun little film even if it is a little lengthy in parts. really digging what i've seen of robert altman tho.
I really had no intention of watching this, but I also had no intention of doing homework, and it was one or the other.
The ending is clever.
That’s really all.
I'm surprised Robert Altman didn't suffer an eyelid injury from all the winking at the audience that's going on here.
While I was expecting a certain amount of cynicism, I was not expecting this to be as meta as it is. Nothing is really notable; acting, camerawork, music, etc. is all blah, although there is a plethora of cameos. Honestly the only intrigue is the story. I can't really discuss it without spoiling anything, so I'll just say that I'm surprisingly interested in what the film is saying, and how self-aware it is. I'm not really sure how I feel about the ending, but it does make sense, so I can't really complain. I think I'd benefit from a second viewing, but I honestly don't think I want to watch it again, so I'll just leave this one alone for a while. Maybe someday I'll come back to it.
Not sure how effective Altman's indictment of Hollywood is here, but then again, it seems like he might just trying to have fun with it. Worth seeing for the legendary opening shot and Tim Robbins' bafflingly brilliant performance.
Why'd I watch it? It wasn't part of my Altman and Contemporaries class, but I kind of thought it should have been
Leave it to Robert Altman to announce his return to Hollywood with a scathing indictment of it.
After a decade of working in virtual anonymity, Altman made a comeback with this dark comedy, scoring his third Academy Award nomination as director and his first since "Nashville" nearly 20 years earlier. It's instantly recognizable as an Altman film -- the opening of the movie is an 8-minute tracking shot following various conversations about either story ideas or movies in general, including one about famous tracking shots from famous movies.
Tim Robbins plays a self-absorbed producer who begins to receive death threats from an unknown writer whose idea Robbins ignored. As he becomes increasingly paranoid, the movie becomes increasingly like a nightmare,…
I need to rewatch this film so I won't go into detail with a full review, but I will say upon my first viewing that this movie is possibly too long, too subtle and would probably make more sense to people who work in the Hollywood industry.
Also I don't think I have knowledgeable respect for Altman just yet as his Empire-centric approach doesn't really bode well with us younger millennials. Again these are quick observations, would love for more incite from people who love this movie.
"So, what's the story?"
"Twenty-five words or less? Okay. Movie exec calls writer. Writer's girlfriend says he's at the movies. Exec goes to the movies, meets writer, drinks with writer. Writer gets conked and dies in four inches of dirty water. Movie exec is in deep shit. What do you think?"
"That's more than 25 words and it's bullshit."
Ah, The Player... One of Robert Altman's best movies, tackling the everyday bullshit of movie making, specifically getting a movie greenlit. Tim Robbins is perfection as Griffin Mill, a young studio exec who's been being threatened by an unknown writer who he ignored by postcard. A seemingly endless supply of postcards, rather. (Word is that Robert Altman himself took great delight in writing those postcards.)
I love it when Altman lets his casts talk over one another...
It might be case of having seen a number of Hollywood satires that followed but the Player feels pretty toothless. I did enjoy the running gag of Griffin constantly ordering different types of mineral water, and the rhythm of Altman's filmmaking clicked better for me here than in some of the other films I've seen of his, but I don't think this has aged especially gracefully.
The first 1012 films are from The 1,000 Greatest Films list, and maintain the original order. The films that follow…
Combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results…