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BULL DURHAM (1988)

“As Nuke, Robbins, who starred in ‘Five Corners,’ is a delicious oddball with sneaky eyes and a disarming, boyish smile. Robbins, who’s tall and physically quite imposing, gives remarkably subtle and detailed line readings. For such a big guy, he’s got a sweetly gentle style. A different approach might have turned Nuke into a lug, but instead Robbins makes him a likable innocent.”
Hal Hinson, Washington Post

THE PLAYER (1992)

“Griffin, with his formula tastes and short attention span, is the audience. That’s why he’s so good at his job. Robbins delivers a classic performance, mining every comic and lethal nuance in the role of his career. Casting the likable, crinkle-grinned Robbins as this devil baby is (a Robert) Altman masterstroke. Monsters don’t sprout horns these days. Griffin is boyishly affable, fashionably decked out by Alexander Julian and scrupulously sober (he orders his brand of mineral water before he goes to lunch).”
Peter Travers, Rolling Stone

THE HUDSUCKER PROXY (1994)

“As Norville, Mr. Robbins projects a goofy appeal. Norville is not dumb, but he sure looks that way when he glances at a quickly changing board that advertises job openings. (‘Soda Jerk. Need Experience.’)”
Caryn James, New York Times

THE SHAWSHANK REDEMPTION (1994)

Tim Robbins makes Andy a man of few words, quietly spoken. He doesn’t get real worked up. He is his own man, capable of keeping his head down for years and then indulging in a grand gesture, as when he plays an aria from Mozart’s ‘The Marriage of Figaro.’ (The overhead shot of the prisoners in the yard, spellbound by the music, is one of the film’s epiphanies.) Because he does not volunteer himself, reach out to us or overplay his feelings, he becomes more fascinating: It is often better to wonder what a character is thinking than to know.”
Roger Ebert, Chicago Sun-Times

MYSTIC RIVER (2003)

“(Clint) Eastwood takes a more subtle tack in ‘Mystic River.’ For one thing, he cast Robbins in the role, and Robbins is a tall guy who certainly looks like he can take care of himself. Robbins uses every inch of that height in his performance: His walk is stooped, not as if he’s been beaten down, but as if he believes that by curving his body inward, he can protect his tortured thoughts until he can sort them out and dispatch them once and for all.”
Stephanie Zacharek, Salon.com