The Player (1992)
Directed by Robert Altman
A Hollywood studio executive is being sent death threats by a writer whose script he rejected - but which one?
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What critics compared The Player to
It is no mistake that the opening, The Player-esque oner on a movie set, which culminates in a demonstration of Kelly’s talents, is really a show-off move by the director.
…a dramedy that mixes the satirical industry insider aspects of The Player (1992)…
Its Robert Altman-esque opening is reminiscent of The Player, with its overlapping dialogue…
…pasando por títulos como ‘Cantando bajo la lluvia’ (Jay Kelly remite a Gene Kelly) o ‘The Player (El juego de Hollywood)’…
…a final day captured by Sandgren in a virtuoso single take that opens the movie — perhaps an homage to Robert Altman’s epic oner at the start of The Player…
…it’s a riff on the kind of oner that opens films like “The Player”…
The result combines elements of "There's Something About Mary ...," "The Player" and "Team America: World Police," and yet almost nothing in "Tropic Thunder" is predictable or cliched.
It plays like a melding of Robert Altman's "The Player" (1992) and Wes Craven's "Scream" (1996).
Not since The Player has the American film industry endured such vicious caricature.
As a jab at the movie business, “Tropic Thunder” is flailing and unfocussed, hardly in the league of “The Player,” and if you want an exposé of the combat movie, strewn with compromise and creative sacrifice, watch “Hearts of Darkness” (1991), about the making of “Apocalypse Now.”
…tradition of the famous openings of “Touch of Evil” or “The Player.”
Two minutes later the highway is abuzz in dance and a choral song (a kick-up-your-heels tune called “Another Day in the Sun”) in a long shot that’s more audacious than the opening of Robert Altman’s “The Player” (1992).
Shooting the musical numbers in what look like single takes (the opening shot recalls and rivals that of The Player ), Chazelle builds upon the visual acrobatics of Whiplash , with Linus Sandgren’s camera weaving, swerving, swooping and flying around the performers in breathtaking fashion.
It is clear that González Iñárritu and his team of writers studied closely the films of Robert Altman, “The Player” being a touchstone, and “Short Cuts,” also, based on Carver’s writings.
For movie geeks, the mind starts thinking of classic movies that open with long tracking shots, such as Orson Welles' "Touch of Evil" or Robert Altman's "The Player."
It all ends up unexpectedly Altmanesque, with “The Player” and “A Prairie Home Companion” coming to mind.
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Where Fellini's film was an inwardly directed meditation on his own obsessions that revealed much about the maestro, Jonze's film is mired in the same kind of "inside Hollywood" pseudo-savviness that -- for me anyway -- made the much-praised Robert Altman film The Player an unpleasant, shallow, self-congratulatory affair.
…gazing in the tradition of The Player, Full Frontal or even Last Action Hero, Adaptation points to something more profound.
This end-of-the-world tease recalls Robert Altman’s end-of-culture alarum in his 1992 film The Player, which has now been remastered as a Criterion Blu-Ray.
Much in the vein of “Stardust Memories,” and “The Player,” Tarantino allows the audience to bathe in the realm of La La Land and how it both makes and breaks artists.
There’s a reason we get used to it so quickly: Movies with a meta dimension have been with us for years — movies like “The Player,” where Robert Altman cast a galaxy of Hollywood stars as their real-life selves, or “Being John Malkovich,” where John Malkovich played John Malkovich, or “Adaptation,” where Cage played Charlie Kaufman, the screenwriter of the film we happened to be watching.
This is Robert Altman’s The Player for dummies.
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The 1992 film The Player assembled a huge cast of famous actors to play versions of themselves in director Robert Altman’s witty and vicious satire of Hollywood.
With its roaming camera (Rogen makes his directorial debut alongside longtime screenwriting partner Evan Goldberg) and sharp ensemble cast, it has the feel of a younger, fouler version of Robert Altman’s The Player.
There’s been a lot of great films that have captured the heart, the humor, the horror and the Hollywood of living in Los Angeles: Sunset Boulevard, L.A. Story, Robert Altman’s Short Cuts and The Player, Pretty Woman, the Beverly Hills Cop trilogy, Reservoir Dogs, Terminator 2: Judgment Day, The Big Lebowski, Double Indemnity, Clueless, Heat, The Graduate, Chinatown, Welcome to L.A., L.A. Confidential, The Artist — the list goes on and is quite long.