READY PLAYER ONE ***
Steven Spielberg
2018
IDEA: In a squalid and overpopulated 2045, an enormous free-roaming virtual reality system called OASIS allows people to escape the drudgery of their lives. When the world learns of a hidden game the program's late creator designed into the system - one that would grant the winner ownership of OASIS - a young gamer sets out to beat it.
BLURB: Ready Player One is in many ways the apogee of Steven
Spielberg’s genre cinema, a nostalgia-baked fantasia of popular culture that
giddily presents itself as a monument to commercial spectacle. Exercising his
characteristic filmmaking vigor, here intensified by the possibilities of an
infinitely malleable virtual environment, the director has taken material that
can be only descriptive on the page and made it into the very embodiment of the
all-consuming mass culture with which it is obsessed. Through its seamless
synthetic form, Ready Player One potently extrapolates how this mass culture
might continue to manifest in the digital era: as not merely a ceaseless stream
of branded content, but as a full-bodied sensory integration with the media
apparatus, a lived simulacral state where representation has swallowed reality.
In figuring such a reality, a literally virtual one within the film’s diegesis,
Spielberg, Kaminski, and an army of effects artists have crafted a virtuosic
orchestration of movement within a space whose dematerialized status allows for
the liberation of the physical camera gaze. One can feel Spielberg, the
eternally wide-eyed wiz kid, exulting in this unbounded mode of image-making –
everything from his exhilaratingly kinetic action sequences to the uncanny
blending of iconic pop culture scenes and characters buzz with the enthusiasm
of a creator given free reign in a limitless sandbox. And if Ready Player One’s trite storytelling
and retrograde politics fail to match the scope of its aesthetic vision, they
do little to mitigate the film as an exemplar of the media culture that
produced it.
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