Ready Player One

readyplayerone-tributeposter-highres-backtothefutureDirector: Steven Spielberg

Screenwriters: Zak Penn and Ernest Cline

Cast: Tye Sheridan, Olivia Cooke, Ben Mendelsohn, Simon Pegg, and Mark Rylance

Ready Player One is the highly anticipated adaptation of author Ernest Cline’s best selling novel. The film opens with a shot of Wade Watts (Tye Sheridan), a high school student living in Columbus, OH in the year 2044. We are introduced to Wade as he navigates his way down from his trailer at the stacks, a futuristic “projects” where trailers are “stacked” on top of each other to conserve space due to the widespread poverty being experienced. Energy and environmental crises have rendered the world mostly back to the stone age with petroleum-fuel a thing of the past and poverty running rampant. One advancement has managed to proliferate through the classes however, and that’s the Online virtual world known as the Oasis. The Oasis is a place where everyone can escape their reality by entering a virtual space where they can be anyone and do nearly anything. All you have to do is log on to the Oasis, invent your avatar, and you’re in!

The Oasis is mostly an entertainment device, but it does serve many practical purposes as well. With the infrastructure of the real world crumbling, the Oasis has become a place of commerce, communication, and even education (although exploration of this concept is curiously missing from the film adaptation). The Oasis is the biggest thing in the world and it has made its creator, James Halliday (Mark Rylance), a trillioniare. However, Halliday takes ill, and with no heir or even true friend to designate his estate, he releases a statement that he has hidden an Easter egg, or hidden object, deep within the Oasis. Whoever is first to find the egg will inherit everything.

Wade, under his avatar Parzival is one such egg hunter, known in the film as a “gunter,” a highly problematic term, if you ask me. Wade along with his friends whose avatars Art3mis (Olivia Cooke), Aech, Daito, and Shoto are all attempting to seek out the hidden prize. This sets up an episodic adventure where Parzival travels through the Oasis searching for clues to lead him to various keys that help him unlock gates that will hopefully lead him to the egg. The catch is that in order to really play the game Halliday has laid out, it helps to know Halliday the man, which is to say you’d better know your 1980s pop culture, music, movies, and video games.

The antagonist of the film comes in the form of Nolan Sorrento (Ben Mendelsohn), the head of Innovative Online Industries (IOI), who wants to inherit and monetize the Oasis. Sorrento hires players to search for the egg on his behalf in exchange for suiting up their avatars with the best suits, armors, weapons, credits, and access possible. These sell-out gamers come to be known as “sixers” due to the fact that all of their avatar names are actually just a series of numbers that start with sixes.

So, what’s the verdict? As it happens all too often for many a film reviewer, I am placed in the curious position of having to evaluate a film adapted from a novel that I just adored. So, while my final grade will reflect my core value’s stance of whether the film itself is worth your money as mainstream moviegoer, I must first speak to how the film measures up to the book’s greatness.

First of all, Spielberg is an appropriate choice for envisioning this book as a film. His career and impact on pop culture is precisely what Cline celebrates in his novel, and he does get a few things right here. One scene based on the concept from the book called a “flicksync” finds the characters of the film transported into a well-known film as part of their journey towards the egg. The massively meta and fabulous poster campaign had me hoping this would play a larger role however. This scene captures the spirit of the book brilliantly while also changing things up for book readers and still pleasing non book readers. Additionally, Spielberg and screenwriters Zak Penn and Ernest Cline himself are very successful in their treatment of envisioning IOI and especially Sorrento who is portrayed brilliantly by Ben Mendelsohn. In fact most of the casting is quite good. Rylance is a very fine choice to play Halliday, and I daresay the film treatment of Sorrento’s eventual henchman iR0k (TJ Miller) is superior to the novel’s treatment. This can also be said for Art3mis who receives a more heroic portrayal in the novel than she perhaps had in the book.

That being said, the film mostly falls flat as an adaptation. The film’s focus diminishes the journey element that was so important to the book’s majesty, and instead simplifies the video game-centric quest plotline in favor of a cliché “resistance” storyline in the real world. Furthermore, the overall structure and complexity of the Oasis itself is marginalized. The crux of the novel is our understanding of this new environment as it unfolds. Its economy, its vastness, its rules, and most disappointingly its education system are all abandoned leaving the Oasis to appear cinematically as simply a game. I almost wish Spielberg had decided to take this project to Netflix or HBO in order to give it a longer play. Simon Pegg, who plays the Oasis’s co-creator Ogden Morrow, is also wasted, as much of his purpose from the book is left out leaving him quite flat as a character.

These gripes are clearly subjective, and Spielberg knew as well as anyone that many of these things had to be cut for a feature length film. Therefore, he did do one of the most bad-ass things a director of this film could do as a consolation, and that’s layer in tons of cinematic Easter eggs. There are numerous references to the various omissions I’ve just laid out all over this movie. It’s as if Spielberg is saying, “I know you love this book, but I can only include so much, so here’s a WarGames poster in the background and some fun Back to the Future imagery. The film’s ending, however is actually quite appropriate and rather clever. Some twists are implemented that work well, and overall there’s a lot to be entertained by in the final act. [Minor Spoiler Alert] However, those looking for that brilliant final “flicksync” in the end will be sadly disappointed, which really upset me; I mean the guy’s name is Parzival, how do you not go there!? [End of Minor Spoiler Alert] So here’s my take. This is a really fun movie overall. There are some great Spielbergian moments that play the nostalgia card, hard. However, the film does have its problematic moments regardless of your familiarity with the source material. What could have been a classic, instead is just kind of a pile of visuals with a story savagely butchered and left on life support. B

Ready Player One is rated PG-13 and has a running time of 2 hours and 19 minutes.

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Wonder Wheel

WheelDirector: Woody Allen

Screenwriter: Woody Allen

Cast: Kate Winslet, Justin Timberlake, Juno Temple, Jim Belushi

I’ve been enjoying attending annual Woody Allen theatrical releases since Celebrity was released in 1998; that’s 19 of his films in 20 years that I’ve seen in the theater. Today, that streak comes to an unfortunate end with Allen’s latest, Wonder Wheel. Wonder Wheel is the first Woody Allen film to ever be released in December (December 1st actually, which is Allen’s birthday), and while reviews were mostly poor, the holiday and Oscar films marginalized it within seconds, and it just never opened in any major way. Therefore, as a little birthday present to myself, I rented it on Amazon, and I will turn the frown upside down by making it the first post-theatrical release film I have ever reviewed.

The title Wonder Wheel refers to the Ferris wheel attraction at New York’s Coney Island, the main setting of the film. This is one of Allen’s most minimalist films in years or perhaps ever.  It feels and looks like a play, even more so than films Allen has directed based on his own stage plays! I am unsure if he shot Wonder Wheel at an increased rate, but it’s entirely possible. This decision to go full-Tennessee Williams, or maybe more appropriately full-Eugene O’Neill, is at first rather distracting, and I’ll admit, the film may be an homage to the stage, but perhaps a better story would be more worthy of this treatment.

Wonder Wheel is another mid-20th century period piece for Allen. It’s also another Coney Island backdrop, harkening back to Allen’s childhood, explored in several of his other films like Annie Hall, Manhattan, Radio Days, Purple Rose of Cairo, and Sweet and Lowdown among others, but this is the first completely set within the amusement destination, especially in its heyday. Kate Winslet plays Ginny, a waitress at a Coney Island clam shack who lives with her husband Humpty (Jim Belushi). Ginny ruined her first marriage by being unfaithful, and now she and her pyromaniac son live on the boardwalk with Humpty who also works at Coney Island as a carousel operator. Humpty was also previously married and had one daughter, Carolina (Juno Temple), who married a mobster displeasing Humpty and causing him to disown her and kick her out years ago. Suddenly, Carolina shows up on the boardwalk looking for Ginny to help her as she’s on the run from her mob husband and needs a place to hide. She also hopes Ginny can help her patch things up with Humpty. Complicating things one step further is our fourth-wall breaking narrator, Mickey, a Coney Island lifeguard played by Justin Timberlake. Mickey is our narrator, but he also involves himself in the lives of the characters finding himself attracted to Ginny. Ginny returns his favor and enjoys his attention, but she finds herself suspicious and jealous when on a chance meeting, Mickey also meets Carolina. The layers of drama unfold rather predictably, but that’s not to say there’s not an enjoyable arc to everything. Carolina’s immediate danger is nicely balanced with the complicated and adulterous love triangle involving Mickey, Carolina, and Ginny.

Wonder Wheel is definitely sub-standard Woody Allen. Kate Winslet is the main appeal, and her performance is actually quite strong. However, she is still the most developed character in a film full of caricatures. Allen’s three central characters are an adulterous divorcee, an alcoholic divorcee, and a mobster’s divorcee, and most of the time they are as one-dimensional as that. At the end, the story manages a brief bit of poignancy, albeit a duller sense than Allen is capable of creating. This is not the bomb it was made out to be, but like Coney Island itself, it could use a few more thrills. C

Wonder Wheel is rated PG-13 and has a running time of 1 hour and 41 minutes.

 

2018 Oscar Prediction Ballot

JKIt’s Oscars Week! That’s right, this Sunday, March 4th at 8:00 PM EST, Jimmy Kimmel will host the 90th Academy Awards. This is always an exciting time for The People’s Critic, and as always, I welcome you to join in on the fun by filling out an official People’s Critic Oscar Predictions ballot (use this link if on mobile). I have made my predictions, so now it’s your turn.

The ballot below contains the nominees for all 24 categories! On Oscar night, feel free to review the Summary of responses page for live updates on how your picks are doing, as well as view the live analytics (available only after you’ve submitted a response) for each category throughout the week!

Also, to make your Oscar night as lavish as possible, feel free to grab a copy of this blank, printable ballot for your Oscar party, and if you’re looking for a Beauty of a Feast, please enjoy our carefully curated 2018 Oscar dinner menu (printable version). Good luck and enjoy!

2018 Oscar Predictions

90scars_newsbanner_copyThis year’s nominations are representative of a pretty strong year at the movies, but few clear winner-take-all situations are teed up this year leaving some real head-scratchers in many of the big categories. I mean if you were ever wondering whether a southern racist cop dark dramedy is better than a love story about a fish-monster, then this is the year for you! Now I don’t think we’ll ever have the drama and excitement matching last year’s Best Picture faux paus with La La Land and Moonlight, but I think we will see some surprises given that Academy voters will be all over the place in their selections. The field was vast and the quality was strong in a year where Hollywood finds itself out of the #OscarsSoWhite and into the #MeToo. This is a year to make statements but also celebrate some great filmmaking.

For those of you eagerly awaiting my annual predictions, your wait is over.

Like I do every year, I have laid out all 24 categories and their nominees along with my humble (yet educated) opinion on who will bring home the gold at this year’s ceremony, held Sunday March 4th, hosted again by Jimmy Kimmel.

Visit my Awards Spotlight Page for links to Oscar Predictions past and present as well, and be sure to check out the highly anticipated 2018 Oscar Dinner Menu.

So pour yourself a pint of Get Stout, and check out my predictions for the 2018 Oscar winners! I know it’s a long post, but it’s 1000 words shorter than last year!

2018 Oscar Predictions
2018 Oscar Dinner Menu
2018 Printable Oscar Ballot
Awards Spotlight

The Shape of Water

SHapeDirector: Guillermo del Toro

Screenwriters: Guillermo del Toro and Vanessa Taylor

Cast: Sally Hawkins, Michael Shannon, Richard Jenkins, Octavia Spencer, Michael Stuhlbarg, and Doug Jones

Guillermo del Toro is a visionary unlike most working in entertainment today. Del Toro has been the architect of uniquely fantastic films like Pan’s Labyrinth, the Hellboy films, and Pacific Rim as well as the outstanding and underrated television series, The Strain. He’s also a terrific artist whose published artwork notebook is brilliantly impressive and fascinating. His latest and most celebrated film to date, The Shape of Water, is no exception.

The Shape of Water is what del Toro does best, blending an imaginative plot against the backdrop of a real-world historical period. Set in the 1960s in the midst of the Civil Rights movement and an escalating Vietnam conflict, The Shape of Water follows Elisa Esposito (Sally Hawkins), a shy, sweet and vulnerable mute woman who lives above a Baltimore movie house and works as a janitor in a top-secret government research facility. Elisa lives a mostly simple and generally isolated existance, except for occasional visits with her neighbor Giles (Richard Jenkins) and regular “chats,” for lack of a better word, with her co-worker Zelda (Octavia Spencer).

All of this abruptly changes, however, when Elisa’s research lab receives a new specimen from South America, an amphibious man-like creature. The creature is ushered into the facility late one evening during Elisa and Zelda’s shift, accompanied by government agent Richard Strickland (Michael Shannon) and research scientist, Dr. Robert Hoffstetler (Michael Stuhlbarg). Strickland and Hoffstetler are united in a goal to know

Shape-Water-620-50
A Tale of Two Michaels – Doesn’t it seem like at least one of these guys is in every good movie or TV show?

more about the creature, but their methods and purposes beyond that couldn’t be more different. Hoffstetler desires to understand and study the creature while Strickland wants nothing more than to determine its usefulness to the United States government, and when Strickland is attacked by the creature, his methods become savage. When Elisa witnesses some of Strickland’s cruelty towards the creature, she becomes determined to save it and enlists the help of Zelda and Giles. Like Elisa, the creature can not communicate verbally, and she also senses the kindness in its soul. What emerges is a twisted Beauty and the Beast narrative that is both beautiful and at times rather horrifying.

Del Toro’s cast is perhaps the most magnificent part of the film. Richard Jenkins and Sally Hawkins give perfect performances. Both are always on top of their game, but never have their talents been showcased like they are here. Legend has it, del Toro pitched this film to Hawkins at an awards show years ago while drunk. He was quoted as saying, I was drunk and it’s not a movie that makes you sound less drunk.” This is exactly the sentiment one should undertake when viewing this film. Objectively, this is a film that can be written off as ridiculous, but when one looks beneath the surface (pun intended), there’s the makings of a masterpiece. The performances by the cast are outstanding, the direction is deliberate and poetic, and the score by Alexandre Desplat is perfection. Del Toro’s film is reminiscent of the style of French director Jean-Pierre Jeunet who directed the films Amélie and City of Lost Children, both of which have a distinct and almost fairy-tale like quality to them.

The Shape of Water is a finely crafted film from top to bottom. It is imaginative and it is spellbinding in a way few films are able to achieve. If I had seen it earlier, it would surely have been on my list of the top films of the year, but I am guessing the 13 Oscar nominations it received will suffice. The cinematic voice of Guillermo del Toro is one I hope only grows and persists. His films deserve to be “events” not unlike those of Christopher Nolan, which makes it fitting that del Toro and Nolan will be duking it out this year for Oscars in eight different categories including the two biggest: Best Picture and Best Director. A-

The Shape of Water is rated R with a running time of 2 hours and 3 minutes.

2018 Oscar Nominations

OscarsOscar nominations have been announced, and The People’s Critic has the nominees for all 24 categories. The nominations announcement was really clever this year. Short videos were produced to introduce each category with guest stars like Gal Gadot, Rosario Dawson, Rebel Wilson, Molly Shannon, and several others. The brief videos gave a little glimpse at the concept behind each category. This proved most effective in the technical and production categories (ie watching Rosario Dawson suddenly transform into a haggard old witch for the Makeup & Hairstyling nominees). The ceremony for the 90th Academy Awards will be Sunday, March 4th at 8:00 p.m. That gives you 39 days to see the over 60 films nominated for various awards. Better get busy!

Best Picture

Call Me by Your Name

Darkest Hour

Dunkirk

Get Out

Lady Bird

Phantom Thread

The Post

The Shape of Water

Three Billboards Outside Ebbing, Missouri

Best Actor

Timothée Chalamet (Call Me by Your Name)

Daniel Day-Lewis (Phantom Thread)

Daniel Kaluuya (Get Out)

Gary Oldman (Darkest Hour)

Denzel Washington (Roman J. Israel, Esq.)

Best Actress

Sally Hawkins (The Shape of Water)

Frances McDormand (Three Billboards Outside Ebbing, Missouri)

Margot Robbie (I, Tonya)

Saoirse Ronan (Lady Bird)

Meryl Streep (The Post)

Best Director

Dunkirk (Christopher Nolan)

Get Out (Jordan Peele)

Lady Bird (Greta Gerwig)

Phantom Thread (Paul Thomas Anderson)

The Shape of Water (Guillermo del Toro)

Best Supporting Actor

Willem Dafoe (The Florida Project)

Woody Harrelson (Three Billboards Outside Ebbing, Missouri)

Richard Jenkins (The Shape of Water)

Christopher Plummer (All the Money in the World)

Sam Rockwell (Three Billboards Outside Ebbing, Missouri)

Best Supporting Actress

Mary J. Blige (Mudbound)

Allison Janney (I, Tonya)

Lesley Manville (Phantom Thread)

Laurie Metcalf (Lady Bird)

Octavia Spencer (The Shape of Water)

Best Original Screenplay

The Big Sick (Emily V. Gordon, Kumail Nanjiani)

Get Out (Jordan Peele)

Lady Bird (Greta Gerwig)

The Shape of Water (Guillermo del Toro)

Three Billborards Outside Ebbing, Missouri (Martin McDonagh)

Best Adapted Screenplay

Call Me By Your Name (James Ivory)

The Disaster Artist (Scott Neustadter and Michael H Weber)

Logan (Scott Frank, James Mangold, and Michael Green)

Molly’s Game (Aaron Sorkin)

Mudbound (Virgil Williams and Dee Rees)

Best Cinematography

Blade Runner 2049

Darkest Hour

Dunkirk

Mudbound

The Shape of Water

Best Costume Design

Beauty and the Beast

Darkest Hour

Phantom Thread

The Shape of Water

Victoria & Abdul

Best Film Editing

Baby Driver

Dunkirk

I, Tonya

The Shape of Water

Three Billboards Outside Ebbing, Missouri

Best Makeup & Hairstyling

Darkest Hour

Victoria & Abdul

Wonder

Best Production Design

Beauty and the Beast

Blade Runner 2049

Darkest Hour

Dunkirk

The Shape of Water

Best Original Score

Dunkirk

Phantom Thread

The Shape of Water

Star Wars: The Last Jedi

Three Billboards Outside Ebbing, Missouri

Best Original Song

“Mighty River” (Mudbound)

“Mystery of Love” (Call Me by Your Name)

“Remember Me” (Coco)

“Stand up for Something” (Marshall)

“This is Me” (The Greatest Showman)

Best Sound Editing

Baby Driver

Blade Runner 2049

Dunkirk

The Shape of Water

Star Wars: The Last Jedi

Best Sound Mixing

Baby Driver

Blade Runner 2049

Dunkirk

The Shape of Water

Star Wars: The Last Jedi

Best Visual Effects

Blade Runner 2049

Guardians of the Galaxy Vol.2

Kong: Skull Island

Star Wars: The Last Jedi

War for the Planet of the Apes

Best Animated Feature

The Boss Baby

The Breadwinner

Coco

Ferdinand

Loving Vincent

Best Documentary Feature

Abacus: Small Enough to Jail

Faces Places

Icarus

Last Men in Aleppo

Strong Island

Best Foreign Film

A Fantastic Woman (Chile)

Loveless (Russia)

The Insult (Lebanon)

On Body and Soul (Hungary)

The Square (Sweden)

Best Animated Short

Dear Basketball

Garden Party

Lou

Negative Space

Revolting Rhymes

Best Documentary Short

Edith + Eddie

Heaven is a Traffic Jam on the 405

Heroin(e)

Knife Skills

Traffic Stop

Best Live Action Short

DeKalb Elementary

The Eleven O’Clock

My Nephew Emmett

The Silent Child

Watu Wote/All of Us

 

Molly’s Game

MollyDirector: Aaron Sorkin

Screenwriter: Aaron Sorkin

Cast: Jessica Chastain, Idris Elba, Kevin Costner, Michael Cera, Graham Greene, (and an Aaron Sorkin cameo, of course)

Those of you who like your Wing West, your Network Social, and your Men, Few and Good already know who Aaron Sorkin is. You might know him as the author of some of your favorite long, witty monologues delivered while walking down a hallway. What you don’t know him as is a film director, until now. Molly’s Game is the directorial debut of one of the most celebrated screenwriters in Hollywood, Aaron Sorkin, whose films and television shows have earned every major critical writing award imaginable. Now, he takes his turn in the director’s chair with Molly’s Game.

Molly’s Game is the true story of the Olympic hopeful turned “Poker Princess” Molly Bloom (Jessica Chastain). When a freak accident dashes her hopes at Olympic glory, Bloom turns her focus to business, and while working as an assistant to a real estate schemer named Dean Keith (Jeremy Strong), Molly is inadvertently introduced to the world of poker. Dean hosts a weekly game with pretty high stakes and a core group of relatively famous attendees. When Dean forces Molly to take on the role of organizing the game, taking records and accepting the buy-ins and giving the pay-outs, she is hooked to the intricacies of the game and begins improving the experience for the players. Soon, Molly is the real draw to the weekly game, much to Dean’s chagrin, leading him to box her out and try to rein her in. Molly instead decides to make a move and start her own game – Molly’s Game.

Things are all Aces for Molly for a little while. She plays by the rules, never takes a rake, and keeps things for the most part, legal. Until she discovers that some of the players in her game, unbeknownst to her, may have ties to the Russian mob. This catches the attention of the FBI and forces Molly to hire a lawyer, Charlie Jaffey (Idris Elba) to help save her game, her name, and her life.

Sorkin’s film is anchored by a lights out performance by Chastain. If I were the real Molly Bloom, I’d be in love with this portrayal of my life. Sorkin also proves a credible director. Many a film has fallen victim to the struggle of envisioning how to depict Sorkin’s verbose and chatty repartee between characters (See Steve Jobs), but it turns out Sorkin knows Sorkin better than anyone! He also is smart enough to hire an actor turned Oscar-winning director, Kevin Costner to play Molly’s father, a resource that I assume Sorkin tapped for directorial advice from time to time. Perhaps the casting of Costner’s Dances With Wolves costar Graham Greene as Judge Foxman is also not so coincidental. This is a tight, authentic thrill ride through the lavish highs and deplorable lows that come with games of risk. The film may get a little heavy-handed in its use of The Crucible references to get its message across, but you can’t argue with the timeliness of these references and the relevance to the national conversation right now about reputation and its importance in Hollywood, in politics, and in society in general. Molly’s Game is by no means a flop, and with an ace in the hole like Chastain, you can push your chips in at the turn and let the river run. A-

Molly’s Game is rated R and has a running time of a “Sorkin-y” 2 hours and 20 minutes.