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Steven Spielberg's "Ready Player One" had its world premiere Sunday night. Like the classic '80s arcade games the movie references, the premiere came with a few glitches.
The premiere, which took place at the South by Southwest conference and film festival in Austin, Texas, experienced technical difficulties when the theater's sound system went down during a climatic scene in the film's final act.
Some in Austin's packed Paramount Theatre at first thought the silence was part of the movie, but quickly began to laugh and murmur once the film came to a standstill on screen. The projectionist replayed the scene, but again the sound went out, leading to a delay of about 10 minutes while those holding the festival scrambled to get it up and running again.
Though the delay meant a break in the moviegoing spell as audience members checked their phones, went to the bathroom and talked with one another wondering if they would be able to see the end of the movie, it also seemed to heighten the enthusiasm in the room. On the third try, when the sound system finally worked, there was a loud round of applause.
Steven Spielberg is here to introduce #ReadyPlayerOne at #SXSW. People are going crazy. The walls are shaking. pic.twitter.com/1m8XK5VJA3
— Frank Pallotta () March 12, 2018
Spielberg, who was in attendance along with the cast, joked after the screening that the technical problems were probably "the greatest anxiety attack" he's ever had.
The movie, which tells the story of main character Wade Watts' adventures through a virtual reality world and includes many '80s callbacks, ultimately got a roaring standing ovation during the end credits, and a positive buzz outside the theater.
Warner Bros. pulled out all the stops to promote the film at SXSW. The studio plastered downtown Austin with posters and advertisements, announced the premiere as a surprise and put together a massive activation space that included virtual reality and recreated sets from the film.
It also held an after-party for the premiere, which was headlined by Joan Jett & the Blackhearts and included '80s themed drinks such as Tab soda.
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ith the help of Van Halen’s Jump, Steven Spielberg’s Ready Player One launches its video game adventure story at full speed. The year is 2045; the place is Columbus, Ohio. Our hero, Wade Watts (Tye Sheridan), fills in the details while climbing past his grungy homes of his town, “the stacks,” where trailer parks are piled on top of each other sky-high. Things are so miserable in Wade’s world, everyone escapes to play in an immersive virtual reality game known as the Oasis. Its Steve Jobs-like founder, James Halliday (Mark Rylance) is worshipped like a god until his death some years before. However, before he left the mortal world, the benevolent creator left behind a series of games that would reward the winner with the Willie Wonka-like prize of the keys to his virtual kingdom.
That’s a lot of story to race through in two hours and 20 minutes, but Spielberg paces his movie to fly past the film’s explanations of events as quickly as possible. The conflict is straightforward and simple: our hero and his friends must outplay the corporate bad guys led by Nolan Sorrento (Ben Mendelsohn) and beat him to the three keys that would control the game. Some scenes are just too bloated with with trivia to have any real weight. The information isn’t given in a casual, conversational way, but in a pretentious manner, as if they’re trying to impress you with minutiae.
The Ernest Cline novel on which its based on is perhaps best known for its many pop culture references. The film follows suit with a soundtrack filled with an upbeat selection of greatest hits from the 80s, with a few interlopers from the 70s. The deepest cut is perhaps Prince’s I Wanna Be Your Lover, but the rest are songs you likely know the lyrics to. It’s tragic that all history of pop culture post-1989 seems to have been lost, but anyone who remembers the 80s may feel nostalgic spotting artifacts from their past. A DeLorean! There’s Batman! That’s the ... Holy Hand Grenade? There’s even a few nods to Spielberg’s movies, like when a T-Rex chases a car in Jurassic Park. It’s easy to get distracted by these cameos on the edge of the story.
The film mimics video games’ weightless camera, creating a floating point of view around fight scenes and chase scenes. While thrilling to watch, it’s a style that left me queasy from motion sickness. The spinning is sometimes so fast, it’s tough to figure out which player is winning or who is fighting who. With too much movement, momentum is lost. The audience has to regain its footing in the story before running off towards the finish line.
While the movie is visually whimsical with its design and neon colors, the weakness of the source material still pokes out. Plot holes remain, despite screenwriter Zak Penn and Spielberg’s efforts to liven up the visuals and punch up the dialogue. I’m not sure I have a great understanding of how the game mechanics are supposed to work. If movement is required to move an avatar in the game, how do people play in the Oasis while standing in their living rooms?
For a movie about the hero’s journey, there’s no arc for any of the characters. They’re all already heroes, the big bad is evil from start to finish. Sheridan isn’t given enough to act on. Wade and his teammates are almost interchangeable, save for a few differences in height and race. The grown-ups seem to enjoy their roles a bit more than the very serious group of young gamers. Mendelsohn has some fun playing a slippery villain, and Rylance is reliably childish as the Wonka/Jobs hybrid.
Unfortunately, Ready Player One has a noticeable girl problem: it can’t see female characters as just other people. For as skilled and resourceful as Art3mis/Samantha (Olivia Cooke) is, her avatar is that of an impossible pixie dream girl – a creature with a svelte body, anime-inspired big eyes, weapons training and the person who knows and loves almost every reference Wade makes. Of course, she’s damaged with a birthmark on her face, and he’s the only nice guy who can see that she’s truly beautiful. Samantha is the artificially programed Eve to Wade’s Adam, but worse because she never gets the chance to sin.
Those who come away cheering for Ready Player One will likely have enjoyed the film’s many references, the story’s breakneck speed and playful visual design. Others may want to unplug from the paint-by-number characters and shallow plot. The film has much to say about our present-day fixation on nostalgia. So many characters pine to go back to their 80s future, but some of us want to see what’s next. There’s no leveling up or cheat codes that can help with that.
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At a pivotal point during the premiere screening of Steven Spielberg’s Ready Player One last night at SXSW, audience members were treated to a pop-culture reference not from an ’80s arcade game or a John Hughes movie, but from December 2017. Without spoiling too much: During big battle scene, a Big Thing is blown up and destroyed, and at the moment of impact, the sound went out. My first thought, bleary from a day of Too Many Movies, was: “Wow, a Last Jedi reference? Was that always going to be there?” But thanks to an equipment malfunction, the sound never returned, even as the virtual troops charged forward and our protagonist held up a boom box, John Cusack–style, at the vanguard, pumping up his army with a blast of nostalgic silence. (Nothing is more nostalgic than the silence of the womb.)
It took three tries to get the scene to play properly, and by the third time the crowd at the Paramount was cheering so loudly I never heard if the song on the boom box was Peter Gabriel’s “In Your Eyes” or some other revered/referential piece of pop music. It hardly mattered at that point, the incredibly hyped Austin crowd would have cheered for it anyway — they burst into grateful applause for every cameo and reference that graced the screen. An audibly nervous Spielberg — yes, even Steven Spielberg gets sweaty when debuting a film for the first time; he described the screening as “the greatest anxiety attack I’ve ever had” — couldn’t have asked for a more receptive crowd than the geek-heavy, genre-loving SXSW-ers.
But is the movie actually good? Well, it’s certainly not bad. Anyone expecting a train wreck from the adaptation of Ernest Cline’s gamer-bait novel must have lost the detail that Steven Spielberg, Hollywood’s Cool Dad, master of functional, crowd-pleasing modern storytelling, was at the helm. It was always going to work, and there are parts that are genuinely dazzling. Spielberg knows how to conduct a larger-than-life car race, even if it’s entirely composed of pixels. Whether or not the IV feed of geek culture is too much entirely depends on your taste, but make no mistake, Ready Player One is nothing if not fun. Here are three spoiler-free takeaways from the premiere, and one spoiler-y — and sure to be divisive — one.
The CGI is phenomenal
The wide-eyed CGI avatars — which are the visual representation of our band of heroes in the virtual world of the Oasis, and onscreen for the majority of the film — set off alarm bells for a lot of people when the trailers dropped, prompting flashbacks to The Polar Express and other ill-fated stumbles into the uncanny valley. But within minutes of meeting Parzival, the floaty-haired, gray-skinned, K-pop-looking avatar of our hero Wade Watts (Tye Sheridan), I was actually unsettled by how … un-unsettling it was, and how readily I could accept him and Art3mis (Olivia Cooke) and the other avatars as one-to-one representations of human beings. Actors of Hollywood, be prepared to be S1m0ne’d.
The puzzles are all completely different from the book.
I guess this is a good moment to reveal that I haven’t read Cline’s book, but a cursory Wikipedia read tells me that his adaptation with Zak Penn opted to cook up a whole new batch of puzzles left behind by dead trillionaire James Halliday (played in the film by Mark Rylance in a Crypt Keeper wig — see, I can do pop-culture references too!). The puzzles cull much more from film than from video games, which makes sense, given the need to make the set pieces work visually. But there’s a good deal of gaming references as well, especially when it comes to the old-old school stuff like Adventure and Space Invaders. Spielberg insisted that “I’m a gamer too” — he played Pong for the first time on Martha’s Vineyard while shooting Jaws. Which was good to know, because I was a little worried about Steven Spielberg’s pop-culture credentials for a minute there.
Hip corporate activation CEOs of SXSW, Spielberg sees you.
Most of Ready Player One is impressively, expertly engineered to resist any kind of political reading whatsoever. Despite being about the legacy of a reclusive, socially inept, megalomaniac fanboy, it has nothing really to say about our real-world reclusive, socially inept, megalomaniac fanboys, except that they might be afraid to kiss girls. One of the few exceptions is a very funny scene with Halliday’s successor Nolan Sorrento (a fantastically pinched and pissy Ben Mendelsohn) in which he tries to convince Wade of his geek bona fides, all while being fed prompts about how much he loves Tab and Duran Duran by a researcher on an earpiece. To anyone who has ever set foot in the SecretxSW Anti-Perspirant Fresh Music Pit (not a real thing, but not far from a real thing), it’s incisive enough to risk being a little meta. Though Wade, the Mary Sue to end all Mary Sues, of course sees through the corporate fakery.
Spoiler alert: There is an extended homage to a very famous movie that will either delight or infuriate you.
The second puzzle, inspired by terminally awkward Halliday’s one and only date with a woman, takes place entirely within Stanley Kubrick’s The Shining, and they do it all. Spielberg creates a kind of space-time defying amalgamation of the Overlook Hotel and all its spooky environs, mashing it all up into a kind of Shining dark ride — we meet the twins, get swept up in a torrent of blood, find ourselves in Room 237 with the Bathtub Lady — everything but the blow-job bear, because this movie is rated PG-13. It’s an homage that keeps going and going, both impressive in its veracity and jaw-dropping in its emptiness. It’s the peak and nadir of “Remember this?” cinema all at once, and where you land on it is probably a good indicator of how you’ll feel about the movie as a whole.
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In “Ready Player One,” Steven Spielberg’s dizzyingly propulsive virtual-reality fanboy geek-out, Wade Watts (Tye Sheridan), a teenager living in a dystopian trailer park in the year 2045, spends most of his time strapping on a headset and immersing himself in the OASIS, a techie surrealist theme park of the senses. Once inside, you never know what you’re going to see or imagine next — though it’s hard to go for more than 30 seconds without encountering some succulent tidbit of pop nostalgia, most of it from the 1980s.
Early on, there’s a shoot-the-works car chase in which Wade (Tye Sheridan) — or, rather, his avatar, Parzival, who resembles a frosted-blond, plane-cheeked Keanu Reeves in a jean vest — climbs into the wing-doored DeLorean DMC-12 from “Back to the Future” and races through a cityscape at pedal-to-the-metal speed to the tune of Joan Jett’s “I Hate Myself for Loving You,” even as he’s pursued by King Kong and the T. Rex from “Jurassic Park.” (Blink and you’ll miss the Batmobile.)
A bit later, Parzival goes on a date with Art3mis (Olivia Cooke), who is also an avatar, with punk-red hair and the oversize eyes of an anime kewpie doll. He gets ready for the evening by morphing into assorted outfits — he tries on Prince, Michael Jackson, and a Duran Duran trench coat before settling on the shaggy suit and tie of Buckaroo Banzai. At a nightclub, Parzival and Art3mis boogie to “Staying Alive” on a floating disco floor and wind up literally dancing on air. All very trancy and romantic, though what good is virtual reality if you can’t wage an unholy battle in it?
Have no fear: In “Ready Player One,” there is plenty of vicarious fantasy combat, notably a war of the worlds that features the Iron Giant as well as the red-eyed, gleaming silver Mechagodzilla. Every time a creature like that shows up (at one point, even the monster fetus from “Alien” makes a kind of palm-buzzer cameo), it’s entrancingly cool. “Ready Player One” tells a breathless and relatively coherent story — essentially, the future of civilization is riding on the outcome of a video game — but the movie, first and foremost, is a coruscating explosion of pop-culture eye candy.
Never is that more spectacularly true than in the irresistible sequence in which Parzival, Art3mis, and Parzival’s best friend and protector, an avatar named Aech (pronounced H), who resembles a metalloid cross between Vin Diesel and Shrek, enter the Overlook Hotel from “The Shining.” The reason they’ve gone there is that they’re trying to track down the woman who James Halliday (Mark Rylance), the disconnected nerd-genius inventor of the OASIS, once had a date with and nearly kissed. It turns out that the two went out to the movies — they went to see “The Shining” — and as the characters in “Ready Player One” stroll around on the sets and images from Kubrick’s film, it’s ticklish, after an hour or so of slippery mutating synthetic digital imagery, to envision “virtual reality” as something that’s this iconic and analog and concrete.
Aech winds up next to the Overlook’s infamous Art Deco elevators, slipping and sliding around in the jellied blood that pours out of them, and that’s before he ventures up to Room 236. The black-and-white New Year’s Eve photograph that pictured a tuxedoed Jack Nicholson now features, in his place, James Halliday, and Art3mis is able to make contact with Halliday’s date, which results in our heroes getting one of the three keys they need to win the game. Yet when that victorious moment happens, it’s a bit of an anti-climax. In “Ready Player One,” everything you could call virtual is clever and spellbinding. Everything you might call reality is rather banal.
Spielberg, when he got up on stage to introduce “Ready Player One” at the film’s SXSW premiere, made a point of insisting that it wasn’t a film — he said it was very much a movie. Yet I wondered why he needed to make the distinction. Years ago, the words “Spielberg” and “fantasy” went together like “ice” and “cream,” or maybe “Citizen” and “Kane,” and one of the reasons for that is that Spielberg grounded fantasy (even the spectacular extraterrestrial visitation of “Close Encounters”) in the nitty-gritty of the real world. That’s what made his fantasies magical.
Yet ever since he became more of a serious, real-world dramatic filmmaker, Spielberg seems to have dichotomized reality and fantasy in his thinking. “Ready Player One” isn’t an obnoxiously flashy and hollow indulgence, like “Speed Racer” or last year’s live-action “Ghost in the Shell.” It’s an accomplished and intermittently hypnotic movie. Yet you may feel like you’re occupied more than you are invested.
Wade and his team, who call themselves the High Five, are fighting to win three keys that will unlock the hidden Easter Egg that Halliday tucked inside the OASIS. If Wade finds it, he’ll inherit Halliday’s empire, worth half a trillion dollars, and gain control of the OASIS itself. Competing for the same goal is the dastardly Nolan Sorrento (Ben Mendelsohn), a corporate weasel who’s the head of Innovative Online Industries (I.O.I.), a company that wants to dominate the world. Ernest Cline, the Austin novelist who wrote the 2011 novel on which “Ready Player One” is based, and co-wrote the script as well (along with Zak Penn), packs in more geek references than you can count — and not just the stated ones (Hot Pockets! John Hughes! Robotron! Beetlejuice! Chucky!), but the fact that Halliday is a kind of Steve Jobs crossed with Willy Wonka. Or the way that the OASIS, an immersive escape valve from the world, isn’t just a projection of what VR might one day become but a metaphor for how people relate right now to the Web.
Yet the virtual world that Spielberg creates, though it just about pops off the screen, isn’t an emotionally textured place. Mostly we’re just staring at it, or maybe “riding” it. The contradiction of a video-game/VR movie is that games are, of course, awesomely immersive, whereas a movie about games is more akin to watching somebody else play one. The hoops that Wade and his team have to jump through to win each key feel arbitrary, like rules made up as the plot goes along, and you wish there were a greater sense of intrigue to it. The movie has more activity than it does layers.
Eventually, we meet the real-life people behind the avatars. Art3mis is really Sam, played by Cooke as a pensive redhead made shy by her birthmark, and Aech, though still called Aech, is played by the spiky and ebullient Lena Waithe, from “Master of None.” The one actor who gives a genuine crafted performance is Mark Rylance, who plays Halliday as a spooked angel trapped inside his frizzy head. We see slices of his past, including his fateful break-up with the partner, Ogden Morrow (Simon Pegg), who launched the OASIS with him. Yet all this adds up on paper without ever seeming like more, in the movie, than a frame on which Spielberg can hang his eruptive visual imagination. “Ready Player One” is set in a dilapidated future where fantasy rules because reality looks hellish by comparison. Yet the movie puts you in a different mindset. By the end, you’re more than ready to escape from all the escapism.
SXSW Film Review: 'Ready Player One'
Reviewed at SXSW Film Festival (TBA), March 11, 2018. Running time: 140 MIN.
PRODUCTION: A Warner Bros. release of a Warner Bros., Amblin Entertainment, Village Roadshow Pictures, RatPac-Dune Entertainment, De Line Pictures production. Producers: Steven Spielberg, Donald De Line, Dan Farah, Kristie Macosko Krieger. Executive producers: Bruce Berman, Christopher DeFaria, Daniel Lupi, Adam Somner.
CREW: Director: Steven Spielberg. Screenplay: Ernest Cline, Zak Penn. Camera (color, widescreen): Janusz Kaminski. Editors: Sarah Broshar, Michael Kahn. Music: Alan Silvestri.
WITH: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Mark Rylance, T.J. Miller, Simon Pegg, Lena Waithe, Win Morisaki, Philip Zhao, Susan Lynch, Hannah John-Kamen, Ralph Ineson, McKenne Grace, Letitia Wright.