The Player
An unconventional yet brilliant satire of the vapid shallowness that embodies Hollywoodâs development process, Robert Altman crafts a unique piece of entertainment that showcases Tim Robbins in perhaps his best role ever. Starting with the fourth wall breaking clapperboard into an awe-inspiring tracking shot around the studio (while the Fred Ward character comments on the one in Touch Of Evil), the film is funny, fascinating, and never boring. The cameos come fast and furious, and while many are just for Hollywood ambience, many are quite clever and funny, like Burt Reynolds (âAsshole.â). Robbins does a great job of portraying an asshole movie exec, yet is likable enough to keep you interested and rooted in his character. The supporting cast almost all around hit home runs out of the park, from Whoopi Goldbergâs detective (the interrogation of Robbins in the police department is near perfect surrealism), to Brion Jamesâ bullheaded studio boss (âDo they screw?â). Only Cynthia Stevensonâs annoying Bonnie fails to impress, but at least her fate at the end is deserving. Itâs amazing how among the cameos, Altman is able to throw in so many great out-of-left field characters, from Lyle Lovettâs mystery man, to Vincent Donofrioâs angry writer, and Dean Stockwell and Richard E. Grant, who nearly steal the show with their âpitchâ. At times the filmâs focus is a little iffy, as Altmanâs overlapping dialogue almost distracts from important plot elements, and Greta Scacchiâs Icelandic beauty is a tad unlikable, but these are mere nitpicks for what overall is a funny, twisted view of the filmmaking landscapeâŠ
9/10