T'Challa, the King of Wakanda, rises to the throne in the isolated, technologically advanced African nation, but his claim is challenged by a vengeful outsider who was a childhood victim of T'Challa's father's mistake.
Michael B. Jordan,
Thor is imprisoned on the planet Sakaar, and must race against time to return to Asgard and stop Ragnarök, the destruction of his world, which is at the hands of the powerful and ruthless villain Hela.
In the year 2045, the real world is a harsh place. The only time Wade Watts (Tye Sheridan) truly feels alive is when he escapes to the OASIS, an immersive virtual universe where most of humanity spends their days. In the OASIS, you can go anywhere, do anything, be anyone-the only limits are your own imagination. The OASIS was created by the brilliant and eccentric James Halliday (Mark Rylance), who left his immense fortune and total control of the Oasis to the winner of a three-part contest he designed to find a worthy heir. When Wade conquers the first challenge of the reality-bending treasure hunt, he and his friends-aka the High Five-are hurled into a fantastical universe of discovery and danger to save the OASIS. Written by
Relies heavily on empty nostalgia and pop-culture references but lacks engagement and a solid story of its own.
'Ready Player One (2018)' should have been called 'The Pop-Culture Movie', since it is so chock-full of blatant references and call-backs to media, from the eighties and nineties in particular. It seems as though this over-reliance on pre-existing material, along with its recognition and nostalgic value, is the driving force behind most of the narrative, being that the flick itself doesn't capture the spirit of the films it intends to ape, and so often calls out by name to cringe-worthy results, but instead shoves in reference after soulless reference in a vapid attempt to prey on its audience's ability to recognise things they've seen before. This 'nostalgia vampirism' is meant to evoke memories of better films and have those emotions transposed onto this one, though it only succeeds in the former and reminds you how much you'd rather watch any of those than this. It's evocative of the larger issues that plague the flick, those being that it doesn't have any real stakes or ability to engage on its own and also treats its audience as rather dumb and forces expository dialogue down their throats at every opportunity. The on-the-nose exposition was honesty some of the most intense and grating I'd experienced in some time. The feature did have some nice visual effects and I cared about the digital 'avatars' as much as any of their real-world counter-parts, though only to a certain degree, but so much was happening that it was hard to register at times due to the odd colour palette and heavily contrasting character designs. It didn't have a cohesive aesthetic, to say the least. It did have a good score by Alan Silvestri and some of its allegorical undertones certainly ring true. I honestly wasn't entertained, though, despite all the visual splendour and things that should appeal directly to me, and that really tells you all you need to know. For all the throw-away movie references, where was the fun of 'Raiders Of The Lost Ark (1981)'? Where was the wonder of 'E.T. The Extra-Terrestrial (1982)', the suspense of 'Jaws (1975)' or the excitement of 'Jurassic Park (1993)'? In other words, where was Spielberg? 4/10
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