Which version of the director did the virtual reality movie this weekend?
With much of the discussion about the film version of Ready Player One around the source material or the use of iconography and characters from other films and genre franchises, one thing can be overlooked: that the movie continues the war between the two Sci-Fi Steven Spielbergs.
Spielberg's History as a Science Fiction Director Goes Back to 1977 Close Encounters of the Third Kind which provided a thoughtful, contemporary interpretation of alien invasions It's not just firmly anchored in Spielberg's catalog – the film is visually and thematically consistent with his production at this time and for a few years thereafter ̵
Close Encounter's was recognizable as a sci-fi film, but resisted the bombastic tropes that the genre had accumulated until then. (That it came out in the same year as Star Wars which celebrated and enveloped these tropes and almost made them into must-haves, is a pleasing irony of cinema in view of the later collaborations of Spielberg and George Lucas. [19659003Hisnextentryintothegenrehoweverwasin1982 ET The Extra-Terrestrial which in many ways feels like the Anti Close Encounters even though it reproduces the earlier film in many ways. (The culmination of both is the arrival of an alien spaceship that begins with one of the film's main characters.) ET was close encounters but was rendered as something less dangerous and troublemaker; more family-friendly and untroubled and better placed to fill theaters around the world, this contrast in beginnings – from cerebral to hearty, maybe or artistically curious to crowds – takes place in Spielberg's multiple return to the genre throughout his career.
It is not a binary conflict, because a project is one or the other; The two 1990s Jurassic Park films have elements of technical innovation and intellectual questioning among the emotions and horrors that dominate the film, as well as Minority Report as both a multiplex-friendly storyline and a commentary that functions Dangers of blind trust in technology and / or authority figures
In each of these cases, however – and even more in 2001 AI: Artificial Intelligence and 2005 War of the Worlds which both are less nuanced are as their cinematic brothers – there is a dominant thread that makes it easy to put films on one side or the other of the equation: Jurassic films and War of the Worlds Crowdpleasers, AI and Minority Report are harder, think-heavy, science-fiction.
So where does Ready Player One fall into this back and forth? It's tempting to put it in the audience-friendly bucket, if only for the way it's been marketed and the obvious focus of the action movie. But there is something – albeit a bit underdeveloped – in his think-piece approach, which is shown again, and a sense of humor and self-confidence that limits some of the book's poorer impulses in translation.
The self-assured humor in Above all, Ready Player One is an argument for the fact that there is more to the film than just enthusing the audience; It gives the impression that the film is an impressively curated experience, and one that is probably smarter than it seems at first sight. The question is really whether this effort is geared toward a worthwhile goal, let alone a successful one.
While "playing is not meaningless, but may spend less time online," it's hard to learn the deepest lesson for the characters – and obviously, to the point that it's easy – there's more to nostalgia both by the characters in the film and the responsible persons for the film are considered? Is there something in the heart of the oasis?
From a business perspective, the studio might hope that this does not exist; When it comes to box office, there is a clear winner in Spielberg's war, and it's not the one who makes movies for the head. Even removing the formidable Jurassic Park leaves the Spielberg, which makes Crowdpleasers much more popular with moviegoers than its rival, is somewhat obvious.
Whether Ready Player One is another minority report or if there's more below the surface that pushes it elsewhere on the Spielberg spectrum, that's something ultimately Only time can tell, as is the case with almost all science fiction films. Let's check in all 2045 if we are not too busy surviving slums and spending our days in virtual playrooms.