Monday, April 2, 2018

Ready Player One [2018]

MPAA (PG-13)  CNS/USCCB (A-III)  RogerEbert.com (2 1/2 Stars)  AVClub (B)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB (J. McAleer) review
Los Angeles Times (K. Turan) review
RogerEbert.com (C. Lemire) review
AVClub (A.A. Dowd) review


Ready Player One [2018] (directed by Steven Spielberg, screenplay by Zak Penn and Ernest Cline based on the novel [GR] [WCat] [Amzn] by Ernest Cline [wikip] [GR] [WCat] [Amzn] [IMDb]) is a visually spectacular movie of our time that IMHO definitely deserves though probably will not receive Oscar consideration beyond the most obvious categories (cinematography, set design, film editing, etc).

Set in 2045, in a world of quite radical decline as the film's late-teen / early-20 something main protagonist Wade Watts (played by Tye Sharidan) declares, "After people gave up on trying to solve the world's problems and just focused on surviving them," it's not a pretty sight:  Most people in Wade's home town of Columbus, Ohio of the future just live "in stacks" ... high rises reduced to _truly_ their bare essentials -- steel beam erector-set-like exteriors that look like giant "shelves" built for an enormous machine shop, with prefabricated (once) "mobile" homes just hoisted (presumably by crane), "stacked" and fitted into the high-rise-erector-set-shelving-space-like "floors."  Talk about simply "warehousing people" ...

But .... (1) that's all that most people can afford with many / most of them finding themselves in incredible debt, mostly as a result of buying (in the real world) useless "stuff" to better-play their video games, and dreading the coming of debt collectors to their homes to take them away to "loyalty centers" (a truly inspired "Orwellian term" for 2045-era debtor prisons) where they'd be forced pay off their debts doing whatever menial jobs would make sense in an economy at least as large in the "virtual world" as in the real one.

And ... (2) if the real world looked increasingly ghastly, the Virtual World was becoming one whose limits were set only by one's imagination.  For in the Virtual World, one could become anyone (or anything) one wanted to be.  One could fly "a space ship" to a space casino (and, there's just a reference to it, an extraterrestrial brothel) the size of a planet.  One could (virtually) climb "Mount Everest ... with ... Batman" if one desired ;-).  One could join one's friends to fight armies of space-dragons and their orc / alien-like minions on planets called Doom.  One could be "a pole dancer," without being thin, but dressed instead in sweats and smoking a cigarette while waiting for the laundry to get done :-).  One could be "a world-class athlete in the Olympics" without working out...

While many of us, and certainly many more in our younger generation, already know a good deal of the beginnings of this virtual world, we're told that sometime in the 2020s a Bill Gates / Steve Jobs / Mark Zuckerberg-like Creator named James Donovan Halliday (played by Mark Rylance) along with a co-Creator and one-time, since sidelined (as appears often the case in stories like these), childhood (!) friend named Ogden Murrow (played by Simon Pegg) created "Gregarious Games" that brought all these disparate virtual realities into one grand universal Platform called "The Oasis."  And it was such a hit that from then on most people just preferred living most of their waking lives there. 
Well, James Donovan Halliday, eventually died.  But upon his death, it was announced, _he_ announced, through a video testament that he left behind that the left an "Easter Egg" accessible by the one (or ones) who'd find "three keys" in this vast virtual universe that he had created to which he would leave Title to the whole Oasis that he created, and ... the Race to find said "Keys" and therefore the said "Easter Egg" was on ...

Among those "Gunters" ("Egg Hunters" in "nerd-short" ;-) was, of course, Wade Watts, along with "his crew" that he had never met except "in the Oasis" who were looking for the Egg (now 5 years on...) simply "for the love of the game" (and because it was SOOOO cooool" ;-).

But there was also an Evil magnate named Sorrento (played by Ben Mendelsohn at his swarmiest), whose company Innovative Online Industries, or IOI for short, had already made a fortune selling the various technologies that would "enhance" the experience in the Oasis -- hap-suits that would translate sensations induced remotely to one's body as if one were "really there" (like, as if one was punched in the arm by a friend, or given a bear hug...).  Sorrento hired "an army" of Halliday geeks (people who knew EVERYTHING that there was to know about Halliday) as well as video-game players to get to that "Easter Egg" first.

So much then ensues ...

Now many Viewers will no doubt find themselves positively mesmerized or more negatively angrily "lost" in the film's virtual reality to appreciate the reflection on the Nature (and even the Value) of Reality.  And there are certainly plenty of more generally "set in their ways" Viewers who will find the whole story of "The Oasis" disconcerting / frightening.

But positive aspects of the Virtual Reality world are also shown: One of the characters Art3mis / Samantha (played by Olivia Cooke) is shown to have have a rather large / unsightly birthmark in the real world, which she doesn't have to worry about in the Virtual One.  And one of the funnier characters in the story is Sho (played by Philip Zhao) who, at age 11, is not taken seriously, yet, "in the real world" but in the Virtual one, he's _already_ a fun "bad-a" Ninja warrior to be reckoned with ;-).

I've also been amused by people in positions of power who resent and often fear the inherently decentralizing / democratizing tendencies of social media platforms.  In The Social Network [2010] (the very first film I reviewed on my blog), Jesse Eisenberg, playing the Harvard-attending but never quite Harvard-milieu accepted Mark Zuckerberg, talked about Facebook allowing every person (with his / her "friends list") to become "their own gate-keeper of their own exclusive club."  In the Virtual world, one's control over one's own world becomes even greater with one really becoming able to become truly anyone (or anything...) that one desires.  And for folks who like "order" (or Order [TM]) and therefore like or have a need to keep other people in boxes (and those one doesn't like ... in prisons), the Virtual world can therefore be quite disconcerting (and even threatening).  For what's a Führer without a people willing to be "Führered..."

Still, Reality is reality.  And as much as one could empathize with the people of Wade's "stack-living" people of 2045 Columbus, OH, and understand why they would enjoy the Virtual Realtiy of the Oasis so much, we are reminded that there are Real Consequences in the Real World and our neglect of the Real World can and inevitably will intrude even into the Virtual World of our dreams. 

So I just plain loved this movie.

I even made peace with my only question / complaint coming to see the film: Why was it being released on Easter weekend?  Sure, by the week of the movie, it became clear that the movie was about "virtual Easter Eggs" (special gifts left by programmers in their video games for their fans).  But I believe it was even more than that: In the world of the film (as in fact already in good part in ours), Halliday (or in ours Bill Gates, Steve Jobs and Mark Zuckerberg) was being treated as virtually a God, and EVERY UTTERANCE THAT HE / THEY SAID "STORED" / "REMEMBERED" AS IF IT WERE "SCRIPTURE."

I found this aspect of the story _fascinating_ and fascinatingly at least in part _true_.  There are folks who consider Bill Gates,  Steve Jobs / Mark Zuckerberg (or Steven Spielberg, Stanley Kubrick and Stephen King...) as practically GODS and search for all kinds of hidden meaning in films like The Shining ;-).

I'm not threatened by the treatment of these people and all their works and all their utterances in this film, as none of these people are indeed God.  Still, the need for people to latch onto these Giants (and often, generally _good_ / responsible ones...) of our time is indicative of our need for meaning, that perhaps _can't_ be found in the often dry / empty and at times even threatening world of Reality.  There does seem to be a need in all of us to search for something that can Transcend it.

So overall, not only is this movie "a great ride," it's also a quite thought provoking one as well.  Excellent job!


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Saturday, March 24, 2018

25th Annual San Diego Latino Film Festival [2018] - Pt 2


Of the films that recently played at the 25th Annual San Diego Latino Film Festival [2018], I was able to view and review also the following:


Zama ]2017] [IMDb] [FA.es]*[AC.br]*(directed and screenplay by Lucrecia Martel [IMDb] [FA.es]*[AC.br]* based on the celebrated novel [GR] [WCat] [Amzn] by Antonio di Benedetto [es.wikip]*[GR] [WCat] [Amzn] [IMDb]) is a Joseph Conrad "Heart of Darkness" [GR] [wikip] story crossed with Waiting for Godot [GR] [wikip] / Franz Kafka [GR] [GR2] [wikip] about a random mid-level late 18th-century "Official of the (Spanish) Crown" Don Diego de Zama (played in the film by Daniel Giménez Cacho [IMDb] [FA.es]*[AC.br]*) stationed up the Rio de la Plata somewhere near today's Asunción, Paraguay, so basically "At the Edge of the World," WAITING with INCREASING FRUSTRATION for the letter "From the King" to let him return back home.

To get approval for his request, he needs the help of a random "higher up" the local Governor (played by Daniel Veronese [IMDb] [FA.es]* [AC.br]*), who while proving perfectly (and repeatedly) able to make sure that his own (often petty) requests and needs are met, seems NEVER to have the time to first WRITE THE LETTER and then TO SEND IT so that Zama could FINALLY LEAVE AND GO HOME.

So while Zama WAITS, and WAITS, FOR YEARS, he becomes progressively more and more agitated as between the local indigenous people from a totally different culture / tradition than his own (what the heck is HE / THE SPANIARDS doing there at all??), the African slaves (brought there, in chains, by the Spaniards / Portuguese from "down river" to "serve" them) again from a completely different part of the world than that in which he had grown up in (back in Spain) and then an assortment of  increasingly crazy white desperadoes, perhaps epitomized by a notorious but slippery bandit named Vicuña Porto (played by Matheus Nachtergaele [IMDb] [FA.es]*[AC.br]*) he slowly goes crazy.

Will he ever get out of this place?  Should he even keep trying? One feels his pain: Colonialism has its effects even on the Colonizers... -- 3 1/2 Stars




El Condorito [2017] [IMDb] [FA.es]*(directed by Alex Orrelle [IMDb] [FA.es]* and Eduardo Schuldt [IMDb] [FA.es]*, cowritten by Rodrigo Moraes [IMDb], Martín Piroyansky [IMDb] and Ishai Ravid [IMDb]) is a CHILDREN'S ANIMATED FILM, produced in PERU based on the beloved comic [en.wikip] [es.wikip]*[Web.es]*[WebUSA.es]*  by CHILEAN CARTOONIST René Ríos Boettiger or Pepo [es.wikip]*).  At the center of the story is Condorito (voiced by Omar Chaparo [IMDb]) an anthropomorphic condor (who, of course, doesn't realize that he's a condor) living in a random provincial town somewhere in Chile.  He's not a particularly ambitious condor, has a home, takes care of a nephew Coné, but when it comes to work, well, let's just say that he prefers spending his afternoons playing soccer on the local pitch for the local team and then hanging out with his buddies at the typical local southern South American bar afterwards (complete with plastic chairs, and an espresso machine along with with assortment of spirits behind the bar).

It wouldn't be a bad life, 'cept that he does have a love interest, the beautiful and with a heart of gold Yayita (voided by Jessica Cediel), who'd like him, of course, to be more serious / responsible.  More to the point, she has a mother, the not rich but certainly imposing Doña Tremebunda (voiced by Coco Legrand), who if all went well would become his future suegra / mother-in-law.  However, she, of course, believes that her lovely, talented and kind daughter could do SO MUCH BETTER than a shifty, not particularly bright, lackadaisical _condor_ ;-).

Well all this makes for a fun / intriguing set-up for a story already, BUT ... this is a cartoon!  SOO ... while poor Condorito is trying, for the sake of his novia (girlfriend), to impress his perhaps one day future mother-in-law on her (future-mother-in-law's) birthday -- honestly, if you've ever been there, and most of us have, it's hard buying a perfect gift / planning a perfect evening for someone who doesn't particularly like you... -- She, the imposing Doña Tremebunda, gets abducted by random octupus-looking space aliens (!) ;-), led by a would-be megalomaniacal leader called Molusco (yes Mollusk) (voiced by Jey Mammon), who ... see in her imposing stature someone to be reckoned with (a worthy hostage perhaps even Earthling leader), while "poor Condorito" (the evening hadn't been going well ...) would AT LEAST IN PART, honestly, be happy "to have gotten rid of her ..." ;-).

But, well, his love interest Yayita, really would like her mother back ... ;-) ... SO ... Condorito along with his nephew Coné set out to fight these space aliens, bring back Doña Tremebunda and arguably save the world in the process ... Much ... ensues ;-)

Among that which ensues, evokes ALL KINDS of popular films from Indiana Jones, to Star Wars, to Despicable Me.

Yes, I do believe that a fair number of North American viewers would not particularly appreciate the rather sexist portrayal of the women in the story, from the "heart of gold" Yayita to her quite imposing mother.  Yet, especially when it comes to the mother-in-law, these are fundamental relationships -- where a mother _is_ generally going to defend the perceived interests of her adult children.  That's what mothers do ;-).  And yet, on the other side of the stick, the mother-in-law can be perceived as an annoying / fearsome / imposing figure.   Anyway, it makes for a fun story -- 3 1/2 Stars


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