Episode 103: Ready Player One

It’s time to enter the OASIS! This week we were so excited to drop our new episode that we bumped up the release date because we’ve been anxiously awaiting this film ever since it was announced.We’re talking Steven Spielberg’s adaptation of Ernest Cline’s sci-fi novel, Ready Player One. We have a joyful conversation and also discuss some of the criticisms we’ve heard. Enjoy, gunters! 

What We’ve Been Up To – 0:02:57

(Aaron – The Hunger Games Quadrilogy & “Making Of” Documentaries)
(Patrick – Krypton)

Ready Player One Review – 0:17:22

The Connecting Point – 1:28:58


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Music: Going Higher – Bensound.com

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MOVIE REVIEW: Ready Player One

READY PLAYER ONE (2018)

GOING IN

When you’ve read a book five times, purchased copies of it to give away, and sung its praises from the rooftops for almost 7 years, there are two major feelings you get when a movie adaptation is announced. First, you get incredibly excited (especially when it’s going to be directed by Steven freaking Spielberg), and second, you get incredibly nervous. Author Ernest Cline’s involvement in writing the script offers hope that any changes will be consistent in tone with the original work, but any time a piece of art/entertainment is so close to your heart it results in a battle to keep expectations in check.

2 Hours and 20 Minutes Later.

COMING OUT
Remember back to the time you saw an epic blockbuster film for the first time. Maybe it was Star Wars. Maybe it was Jurassic Park. Maybe it was The Avengers. Whatever the film was, it left you in awe of what movies could be. It transported you to some new world that you wanted to inhabit. It was an experience unlike any you’d had. Most likely, you would have gladly sat right in that same seat and started watching it again the moment it ended.

For the generations of people who grew up as gamers, movie, music, and TV lovers, and general pop culture addicts… Ready Player One is next in line. This is that film for you.

It was probably foolish to distrust Steven Spielberg in the first place, but we all make mistakes. Instead of disappointment, he delivered something wholly unique and special. The screenplay by Zak Penn and Ernest Cline is incredible. At the risk of using hyperbole, this might be the second best adaptation of a book that I’ve ever seen, and it’s not because the story is portrayed exactly as it is on the page. In fact, it’s the opposite. The film still follows Wade Watts (Tye Sheridan)/Parzival as he searches for James Halliday’s Easter egg inside of the OASIS. Parzival’s best friend Aech (Lena Waithe) and rival/love interest Art3mis (Olivia Cooke) are also looking for the egg, and the three try desperately to stay ahead of the evil Nolan Sorrento (Ben Mendelsohn) and IOI Corporation, who wants control of the OASIS and seeks to monetize it through advertisements and subscription plans. So, the general flow of the book’s narrative remains the same, yet getting from point A to point B happens in much different ways. The brilliance of it all is that the story has been modernized. It is updated with current gen gaming and pop culture references galore, while retaining many of the 80’s story beats and nostalgia that made it so beloved in the first place. There are even references to older films such It’s A Wonderful Life and Citizen Kane. The updated way in which this script remembers classics is truly something special and it results in two different versions of the same story – which fans of all ages can now love.

Visually, Ready Player One is a staggering achievement. Transitioning from the CGI world to the one on film is nearly flawless, and the visual effects of the OASIS itself and what takes place inside of it is mind blowingly good. This is a film that truly does demand an IMAX viewing (or five). It is wonderful to look at but it is also accompanied by an incredible score from Alan Silvestri. Utilizing many classic films scores (plenty of which are his own), he creates themes that are at once both familiar and fresh. The nostalgic rush that comes from seeing a DeLorean on screen and a subtle alteration of the Back to the Future theme playing in the background creates such a feeling of joy. This experience is even better when shared with friends, who you’ll no doubt be poking constantly as you draw each other’s attention to some awesome reference made in the film.

And this communal nature of enjoying nostalgia together is also something that the script takes very seriously. In some ways, this film’s message is better than the book. Despite it taking place almost entirely in a virtual world, Ready Player One ultimately urges us to remember reality and take a break every now and again. It also puts a premium focus on teamwork, friendship, and avoiding regret.

VERDICT

Ready Player One is a special film. Spielberg and Cline have crafted a new version of a beloved story that stands on its own, and is equally (if not more) impressive than its source material. It is the kind of blockbuster that doesn’t come along very often and that fans will embrace with adoration – endlessly watching, quoting, and discussing. If you aren’t a gamer or don’t love pop culture references, then you’re not the droid this film is looking for and you should probably just move along. Otherwise, you’re in for a treat. Enjoy your visit to the OASIS. I hope to see you there.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.

MOVIE REVIEW: Darkest Hour

DARKEST HOUR (2017)



Going In

Before 2017, I had never heard of the Battle of Dunkirk. But thanks to Hollywood, we’ve all had quite the history lesson this year, with two films (Their Finest and Dunkirk) addressing that particular event in some fashion. Now a third film enters the mix, set during the same time period but not dealing with the battle specifically. Instead, Darkest Hour focuses primarily (see what I did there?) on one man – newly appointed British Prime Minister Winston Churchill. As Hitler’s forces close in on England, Churchill must make difficult decisions that would affect the outcome of World War II. Playing Churchill is Gary Oldman, and he is already receiving an incredible amount of critical praise for his portrayal of the famous statesman. It will be interesting to see how his performance compares to that of John Lithgow, who just a few months ago won an Emmy for his own depiction of Churchill in the Netflix drama The Crown.  Also a curiosity is whether director Joe Wright will rebound from his underwhelming 2015 remake of the Peter Pan story. Wright’s experience with period pieces such as Atonement, Pride & Prejudice, and Anna Karenina point toward this type of material as being perfect for him, and that provides me with a lot of hope.


COMING OUT

Darkest Hour is my kind of biopic. Joe Wright’s film is a little less of a period piece than I expected, though. With only a few scenes of deep melodrama, it unfolds more like a fast-paced political thriller. Wright directs with a dazzling electricity that moves the film forward at a tremendous pace. Dario Marianelli, composer of the wonderful music in Kubo and the Two Strings, provides an incredible audible energy that matches the intensity of Churchill’s fiery personality and the wartime tension felt at the time. The result is a film that, despite being almost entirely dialogue driven, has the ability to put you at the edge of your seat. Since this story is about the great orator Winston Churchill, it is extremely fitting.

The story is also mostly true and I’d encourage viewers to read up on exactly what took place during these important months in 1940. Although Darkest Hours adds a few dramatic elements toward the end of the film, it mostly does justice to the primary players: Churchill (Gary Oldman), King George VI (Ben Mendelsohn), former Prime Minister Neville Chamberlain (Ronald Pickup), and Lord Halifax (Stephen Dillane). Anthony McCarten’s script covers only the month of May – Churchill’s appointment through his famous “we shall never surrender” speech. As Germany draws closer each day, Churchill must weigh the pushing of peace talks from the likes of Chamberlain and Halifax against the proposition of seeing the entire British Army wiped out while continuing to fight back. The Battle of Dunkirk does feature prominently here and Christopher Nolan’s Dunkirk will make a perfect complimentary film for a twin bill.

What elevates the film into greatness, however, is Oldman. He is nearly unrecognizable as Churchill, buried under the hefty weight of prosthetics. But where he succeeds most is selling the idea that Churchill truly did use language and words to turn the tide of English thinking toward resistance of Hitler’s regime. Wright and McCarten do a fantastic job of building this up, giving us little moments of Winston’s oratory brilliance, so that when he walks into Parliament for the final speech we fully believe his words will have the power they need. Oldman’s performance feels like a total immersion into the character, his veins seemingly about to pop at any time, and his stutters and pauses perfectly capturing the enormous pressure weighing Churchill down. I’m not sure whether two actors have ever won an Emmy and an Oscar within six months of each other for playing the same character, but Lithgow and Oldman definitely have that chance.

Verdict

Winston Churchill is a fascinating figure. Historian and politician, but also extraordinary leader. His actions within that first month as British Prime Minister changed the course of world history. Had he sued for peace, who knows if Hitler would have been stopped from overtaking Europe (and beyond). Darkest Hour is as thrilling as it is dramatic in telling this very important story of how a leader used words to inspire a nation. A fabulous film in all respects, consider this a must-see and a rival to the title of best film about Dunkirk in 2017.

Rating:


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on how his expectations influenced his experience. Follow him on Facebook and Twitter to be notified when new content is posted.