(1992)

Critic Reviews

86

Metascore

Based on 20 critic reviews provided by Metacritic.com
100
Time
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]
100
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.
100
San Francisco Chronicle
Remarkable also for the uniform excellence of its cast, and for the pleasure [Altman's] actors take in the wide berth he allows them. [24 Apr 1992]
100
Rolling Stone
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.
100
Chicago Tribune
What "M.A.S.H." did to service comedies, what "McCabe and Mrs. Miller" did to westerns, what "The Long Goodbye" did to detective pictures, The Player does the to Hollywood success story. [24 April 1992]
100
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.
100
Entertainment Weekly
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.
90
Variety
Mercilessly satiric yet good-natured, this enormously entertaining slam dunk quite possibly is the most resonant Hollywood saga since the days of "Sunset Blvd." and "The Bad and the Beautiful."
89
From its brilliant and sublime opening sequence to its self-reflexive ending, The Player distills everything that's wrong with the American film industry with the precision of someone who's been there.
40
Chicago Reader
The surface activity keeps one occupied, but never adds up to much because none of the characters is developed beyond the cartoon level; and the snobby sense of knowingness that's over everything is uncomfortably close to what the movie is supposed to be dissecting.

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