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Throws down the gauntlet with the very first shot, in which the camera glides sinuously all over the sprawling exterior of a university campus, caroming from one group to characters to another, for minute after self-consciously virtuosic minute, and just as you’re idly wondering whether Fred Ward is going to show up and start ranting about the opening of Touch of Evil, we suddenly pick up two film students engaged in discussion of that very topic, who then proceed to address The Player itself. Except that Altman’s achievement really is little more than a clever, hollow joke, whereas Yanagimachi has taken that sort of suffocating pomo referentiality as his subject.Read More »