In 2045 when the world becomes slum due to overpopulation, pollution, corruption, and climate change, humans choose "escape" to OASIS (Ontologic Anthropocentric Sensory Immersive Simulation), the virtual world of James Halliday (Mark Rylance) creation accessible with VR glasses where a person is free to be anyone and do anything. In 2018 when the world often forgets to have fun, human beings should "run away" to Ready Player One, Steven Spielberg's imaginative world, which should be enjoyed wearing 3D glasses. Costume XI can maximize the sensation of natural character OASIS, while the 4DX format produces similar effects for the film, Derived from a phenomenal novel titled the same as Ernest Cline (also a scriptwriter with Zak Penn) filled with popular 80's culture references, it is clear there is nothing more appropriate to work on the screen adaptation in addition to Spielberg. First, he was among the most influential figures that shaped the popular culture of the day through the Indiana Jones (1981-1989) trilogy, to E.T. the Extra-Terrestrial (1982). Secondly, there is no director as great as he is about stringing a thick visionary entertainment with creativity filled with large-scale special effects. Again, NOTHING.

Wade Watts (Tye Sheridan), an 18-year-old orphan who lives in a slum dwelling in Columbus, Ohio, is our protagonist. Like people who feel more at home in cyberspace (read: social media) because they feel the original figure is lousy, Wade also spends the majority of his time in OASIS. Using an avatar named Parzival, Wade followed the competition looking for the easter eggs that Halliday left behind before he died. The winner will inherit OASIS ownership plus other prizes. The problem is that the obstacles that must be dealt with are very difficult, not to mention the threat of Nolan Sorrento (Ben Mendelsohn) and its VR equipment provider, IOI (Innovative Online Industries), who is ambitious to master OASIS, I hope Ready Player One spends a little more time dive into the world and more characters, but Spielberg's splendid of spectacle makes me not mind jumping into bombastic action right from the start. The race crosses the OASIS version of New York where giant iron balls, T-Rex, and King Kong have been waiting to thwart efforts to find easter eggs. This is only the first stage, but that fails to facilitate the Parzival struggle with his "Back to the Future" car through the finish line. Similarly Art3mis (Olivia Cooke), a figure of famous motorcyclists from the animated Akira who became adult Parzival.

The race proved how Spielberg understood how to build tension. The ruins of the building that make cars collide with each other, the rage of King Kong that destroyed the player's vehicles like cheap plastic toys, not just a CGI parade. There are dimensions, weights, rather than computer-generated images that fly without body mass. The blessing, the impression that the characters are really in danger is felt. Stretching, but Spielberg never neglected to inject a sense of fun.

Ready Player One invites us to celebrate life, both in the real world and virtual. The balance is needed. Spielberg wants us to know what it feels like to live our lives to its fullest. The trick is to eliminate the set piece that is filler. In total there are 3 keys needed to get a gift from Halliday, and each phase of the key search contains a moment of ignition and Spielberg class visualization of cline written ideas. In the hands of Spielberg, the most important thing is not "how many characters and / or references popular culture?", But how are all summarized into a solid scene? The manuscript eliminates the "show-off" impression, so the tour surrounds the Overlook Hotel, a zero-gravity dance floor with Stayin 'Alive, to the "three gigantic" struggles at the climax of the natural phase of the stage that must be passed, There's still a blemish. As a film about the invitation to not forget reality, the movie's "real world" scene lacks allure. I feel like the humans in it who choose OASIS life rather than reality. The only moment (close to) the reality that appears interesting lies towards the end, Mark Rylance shows the rich acting sensitivity as Halliday, the introverted genius man also awkward about socialization. But in the emergence of awesome, wrapped in Spielberg-style warmth, Rylance shows that Halliday has changed. More mature, more mature, more wise. We are all capable of experiencing similar changes as long as not too long settled in cyberspace. 

RATING (8/10)

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