Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy with supernatural abilities from the brutal, time-traveling cyborg, Cable.
Armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, cat burglar Scott Lang must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.
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
The box containing the Orb of Osuvox is the same one Gizmo is in when he's given to Billy in Gremlins (1984). See more »
When the Cataclyst goes off, everyone dies and then we see a glimpse of the big scoreboard being updated. Number 3 on the scoreboard is SORRENTO with two keys and 124,000 points, even though he should have been zeroed-out when Art3mis blew him up along with Mecha-Godzilla. However, the explanation is clearly implied, since we know that Sorrento never actually won any key - he had a bunch of his Sixers do the work and then took the keys and points from them, either by ordering or killing them. He must have done it again after being zeroed-out, so he would be the one to open the final door and get the egg the moment another Sixer got the third key. This explanation is further evidenced by the fact that numbers 4 and 5 on the board are Sixers and they have exactly the same score as Sorrento, implying that they are simply copying each other. See more »
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
561 of 1,059 people found this review helpful.
Was this review helpful to you?
| Report this