Joins company with "Sullivan's Travels" and "Sunset Boulevard" as the quintessential Hollywood peek-a-boos...[and] Tim Robbins' modulated performance rates rhapsodic praise. [10 Apr 1992]Read Full Review »
100
Washington Post: Hal Hinson
The film, which begins with a single, gorgeously sustained eight-minute camera move, is blissfully out of touch with contemporary trends in moviemaking...surprising, both in style and narrative.Read Full Review »
100
Washington Post: Desson Thomson
A rare commodity. It's brilliant and a guilty pleasure. A subtle damning of things Hollywood, Robert Altman's seriocomedy slices its target with a thousand, imperceptible razor cuts.Read Full Review »
100
ENTERTAINMENT WEEKLY: Owen Gleiberman
The film is sublime entertainment, at once ticklish and suspenseful, cynical and sincere. By its very existence, Altman's comedy about the death of Hollywood lets you know that movies are still alive and kicking.Read Full Review »
100
ROLLING STONE: Staff (Not Credited)
What makes The Player the best and boldest American comedy in years is Altman's wizardry at leavening anger with cathartic wit. He sticks it to every target, himself and us included, with a wicked zest that hurts only when you laugh -- and The Player keeps you laughing constantly.Read Full Review »
100
Time: Richard Corliss
Michael Tolkin's script abounds in such cynical wisdom, but it never loses an appreciation for the grace with which these snakes consume their victims. [13 April 1992]Read Full Review »
90
The New York Times: Vincent Canby
So entertaining, so flip and so genially irreverent that it seems to announce the return of the great gregarious film maker whose "Nashville" remains one of the classics of the 1970's.Read Full Review »
60
LOS ANGELES TIMES: Kenneth Turan
Even when Griffin has a heart of stone, Tim Robbins is lacking in the knid of ice-cold magnetism that allows a thorough bastard to hold the screen like nobody's business. [10 Apr 1992]Read Full Review »
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