Ready Player One

(USA 2018)

Schmaltzking Steven Spielberg is in regular form with Ready Player One, his film adaptation of Ernest Cline’s 2011 gamer fantasy novel.

Reality bites in 2045, especially in Columbus, Ohio, where Wade (Tye Sheridan) lives with his aunt (Susan Lynch) and her no good boyfriend (Ralph Ineson) in “the Stacks,” a favela-like slum of discarded mobile homes piled on top of each other. Things have stopped working and people have stopped fixing them, and the world has taken on a dystopian futuristic Dickensian hue curiously stuck in the 1980s.

Wade, like everyone, escapes to the OASIS, a virtual reality alternate universe where one can be…well, anything. Wade is Parzival, a sort of Speed Racer adventurer. He’s on a mission to win a contest: find the “Easter Egg” left behind by James Halliday (Mark Rylance), the dearly departed creator of the OASIS, and gain total control over the OASIS. Parzival just might get by with a little help from his friends — but he’s got to stay a step ahead of one particularly troublesome competitor, corporate bad guy Sorrento (Ben Mendelsohn), who wants to rule the OASIS for all the bad reasons.

Ready Player One is a typical Steven Spielberg kid’s movie: pop culture, magic, and a total “feel good” ending. I’m not spoiling anything by saying that. It isn’t necessarily better than recent films like The Post (https://moviebloke.com/2018/01/26/the-post/) or Bridge of Spies (https://moviebloke.com/2016/02/25/bridge-of-spies/), but Ready Player One is a lot more interesting. Spielberg goes overboard with references to ‘80s films, some of which are his own projects — and I’m told he’s more aggressive than Cline is in the book. Still, the result is a lot of fun, and the details are wicked. A sequence dedicated to The Shining actually made me giddy. Mendelsohn looks so much like the principal from The Breakfast Club (https://moviebloke.com/2016/05/05/the-breakfast-club-2/) that I want to ask him if Barry Manilow knows he raids his wardrobe. Rylance plays Halliday with a strange mix of Christopher Lloyd, Steve Jobs, and, err, Spielberg.

I’m no fan of late or even middle period Spielberg, but I didn’t mind this one. Make no mistake, Ready Player One is a big, loud, overdone Hollywood movie, but it’s a decent one. Those who grew up watching Spielberg movies (like I did) no doubt will enjoy it even though they probably don’t need to see it a second time.

With Olivia Cooke, Lena Waithe, T.J. Miller, Simon Pegg, Philip Zhao, Win Morisaki, Hannah John-Kamen, Clare Higgins, Laurence Spellman, Perdita Weeks, Joel MacCormack, Kit Connor, Leo Heller, Antonio Mattera, Ronke Adekoluejo, William Gross, Sandra Dickinson, Lynne Wilmot, Jayden Fowora-Knight, Gavin Marshall, Jane Leaney, Elliot Barnes-Worrell, Asan N’Jie, Robert Gilbert

Production: Amblin Entertainment, De Line Pictures, Dune Entertainment, Farah Films & Management, Reliance Entertainment, Village Roadshow Pictures, Warner Brothers

Distribution: Warner Brothers, NOS Audiovisuais (Portugal), SF Studios (Norway), Tanweer Alliances (Greece), Karo Premiere (Russia), Kinomania (Ukraine), Roadshow Entertainment (New Zealand), Roadshow Films (Australia)

140 minutes
Rated PG-13

(Music Box) C+

http://readyplayeronemovie.com

The Post

(USA 2017)

Even with the healthy skepticism I have for all things Steven Spielberg, I was looking forward to The Post, His Schmaltziness’s latest historical drama. The subject and the impressive cast built expectations (for me, anyway) along the lines of All the President’s Men (https://moviebloke.com/2015/11/29/all-the-presidents-men/). Turns out that’s not quite what The Post is.

Set in 1971, The Post is a dramatization of newspaper heiress Katharine Graham’s (Meryl Streep) agonizing decision to publish excerpts of the classified Pentagon Papers in The Washington Post — on the eve of the paper’s public stock offering. It was a now-or-never moment with big consequences for her, the paper, and the nation. Editor Ben Bradlee (Tom Hanks) is determined to publish the rest of the story, president and shareholders be damned.

Recall that the Pentagon Papers detailed the shady origins and the federal government’s ongoing misleading of the American public about the efficacy of the Vietnam War. The New York Times broke the story using the same source, former government contractor Daniel Ellsberg (Matthew Rhys), but was slapped with an injunction that halted its coverage.

The Post is a decent historical thriller, I’ll give it that. Liz Hannah and Josh Singer’s screenplay is accurate, at least as far as the events here. The narrative is timely, loaded with dramatic tension and suspence even if the ending is rushed. In typical fashion, though, Spielberg is heavyhanded and overly sentimental. That long shot of Graham walking through a crowd of women of all ages as she leaves the courthouse of the U.S. Supreme Court and her monologue to her daughter are fine examples of what I’m talking about. Gag.

As far as Streep’s performance, I didn’t consider this a standout for her. She’s always good, but I’m probably not going to remember her for this one.

I found The Post overrated. It plays to something obvious. I wasn’t bored, but I wasn’t impressed, either. Bridge of Spies (https://moviebloke.com/2016/02/25/bridge-of-spies/), which I didn’t love, was more interesting.

With Sarah Paulson, Bob Odenkirk, Tracy Letts. Bradley Whitford, Bruce Greenwood, Alison Brie, Carrie Coon, Jesse Plemons, David Cross, Zach Woods, Pat Healy, John Rue, Rick Holmes, Philip Casnoff, Jessie Mueller, Stark Sands, Michael Cyril Creighton, Will Denton, Deirdre Lovejoy, Michael Devine, Kelly Miller, Jennifer Dundas, Austyn Johnson, Brent Langdon, Michael Stuhlbarg, Deborah Green, Gary Wilmes, Christopher Innvar, Luke Slattery, Justin Swain, Robert McKay, Sasha Spielberg

Production: DreamWorks Pictures, 20th Century Fox, Amblin Entertainment, Participant Media, Pascal Pictures, Star Thrower Entertainment, River Road Entertainment

Distribution: 20th Century Fox (USA / Canada), Universal Pictures International (UPI) (International), United International Pictures (UIP) (International), Entertainment One Benelux (Netherlands), Forum Film Slovakia (Slovakia), NOS Audiovisuais (Portugal), Vertical Entertainment (Czech Republic), eOne Films Spain (Spain), Odeon (Greece), Columbia Pictures (Philippines), Toho-Towa (Japan)

116 minutes
Rated PG-13

(AMC River East) C+

https://www.foxmovies.com/movies/the-post

Bridge of Spies

(USA 2015)

I watched this movie twice because I wanted to make sure I wasn’t unduly harsh on it. I really hated it the first time I saw it, but I must confess that I was drunk and really didn’t pay attention to it. Upon my second (and sober) viewing, I’ve reconsidered my position.

Let’s get this out up front right away: I can’t stand Tom Hanks, and Steven Spielberg hasn’t grabbed me with anything since maybe Schindler’s List. Both have done interesting things in the past, but it’s been a long time since I’ve seen either of them put out anything interesting (they’re so soft now). For the last 20 years, their work has been exactly what deters me from most mainstream Hollywood movies: formulaic feel-good stuff with a tidy ending.

Bridge of Spies is all of that. Based on true events, it’s actually two stories in one movie. During the Cold War era, Brooklyn insurance defense attorney (egads!) James Donovan (Hanks) is asked—no, coerced—by his boss (Alan Alda) to defend a Russian spy, Rudolf Abel (Mark Rylance), in a pro bono criminal case. Donovan notices defects in the warrant that led to Abel’s arrest, but no one, including the judge (Dakin Matthews), wants to hear it. All hell breaks loose when Donovan goes full throttle on his defense—all the way to the U.S. Supreme Court. He loses. Abel goes to jail.

Donovan is then asked by the CIA to negotiate a prisoner exchange of Abel for an American spy (Austin Stowell) captured by the Soviets. While in Berlin, Donovan learns of an American student (Will Rogers) held in East Germany. He unilaterally deals for the release of both Americans—much to the dismay of the CIA agents on the case.

Bridge of Spies might not be schmaltzy, but it’s got no edge to it: it’s a straightforward (though liberal with reality), standard-issue Law and Order type drama. The film is classified as a thriller, but it’s not really; it’s neither particularly intense nor suspenseful. It has its moments, and Rylance is easily the standout performance here. However, the pace is uneven and the story gets dull at points. Donovan’s need to do the right thing in the face of adversity drives the dramatic tension. His “argument” before the Supreme Court is an eyeroll-inducing pitch for an Oscar. Whatever. The ending is typical Spielberg. I didn’t love Bridge of Spies, but I’ve seen much worse.

Side note: I’m surprised to see the Coen brothers attached to this project; it’s not their speed.

(Home via iTunes) C

http://bridgeofspies.com