Ready Player One Reviews
Some guy in the year of 2050 or something is spending most of his days in an online world, gaming with other people. Life is seeming less important than the pixlated version of reality. The methods and equipment are bigger than these days and seem like a big thing for most of the world's population. There's a game, or world, or somthing that has some keys hidden. No one finds the "easter eggs" but our man is on the misson and he get's a crew in serch of finding all three of them. Some bad fellas want's to kill him - both online and IRL, since they can make money of getting them first.
I feared that this would be a film where an old man (Steven) is out on a mission to know more about this generation and it's gaming culture. And it feels like it's exactly what this is. The plot is pretty standard, if you can let the gaming stuff be any other "normal" movie mission.
It has some seriously impressive CGI - it looks, and sadly feels like a game. What I do like is all the referances from both films and elder games. The biggest thing for me here. A few nice touches is making it watchable, but this was not a good film for me. It has the needed profesionalness, the cash invested, the director and the looks (kind of) but it's never really interesting and it feels dragged.
I'm surprized I don't hate this film, but you should never expect that from an Spielberg flick. This was low for his standards, even if it got many of his fingerprints all over it. The mixture just did not work for me.
4.5 out of 10 gamers.
This movie has such a unique premise, that I was hooked right from the start. And being a fan of games, I was interested to see where the story would take me along for the ride. An enjoyable film.
Rewatch: Its exhilarating successes are the film's own and its failures stem (largely) from its source material, taking a page right out of the book by repeating the same sickeningly nostalgic and paralyzingly unimaginative gatekeeping geekdumb. At least, stripped of the novel's tendency to merely catalog references rather than use them, cinema's capacity for visualizing intertextuality elevates Cline's doggerel into something fun to look at, though not particularly interesting to think about. In its best moments-those most in line with the ethos of the OASIS, and so furthest from Cline's limited creativity-Spielberg marshals the material as a starting point to self-reflection rather than self-deception, turning the novel's navel-gazing into knowing nods to his own career, his influence, and his influences.