Ready Player One

For the many years that I devoted to writing, it became clear to me that the theme of book adaptations is one of the most sensitive topics. And it seems like everything is logical, because it is difficult to transfer the book to the screens as accurately and thoroughly as possible without losing important details on the road, and satisfying the fans of the original. But if you can not please someone with something proven time, then why not give him something new, keeping the mood of the work? A screen adaptation of Ernest Klein's geek novel "The first player to get ready" is the case when the creators decided not to "fan" the fanbase, but to create a product that will interest everyone: those who read the book, learned about it through the film, and those who know about the project only that there is a director Steven Spielberg.

A guy named Wade Watts lives in the backwoods of Columbus. Despite the fact that the window is in 2045, there is nothing that would indicate the modern technologies of the future. Only the ragged trailers, inside of which people are constantly pacing in glasses. And it's not that cool guys always shine in the sun. Just the future was not so rosy, and to hide from the realities of the world around, everyone started to spend every free minute in the Oasis - a virtual reality where you can become anyone. One day the world will find out that the creator of the Oasis, James Hollyday, died, but left behind him three keys, hiding them behind three quests. The first one who finds them can become the master of virtual reality, and thus the master of many destinies. Further, I think, there's no point in telling.

The director's return to the fantasy genre was unpredictable. Political whirlpool finally absorbed one of the main science fiction directors, and that's why it was scary for the project, built on incredible graphics and large-scale scenes. But Spielberg's memories of romance chase and inspired actions of his heroes are more alive than all living ones, and this is what he proves almost in the first scene of the race, from which the spirit really captures. Just imagine: DeLaurian, rushing along the fierce track, and trying to steal from the huge tyrannosaurus, and the same huge King Kong. All this is flavored with excellent detailing and a driving soundtrack. The scene is very impressive, and acts as a sedative, for after it you realize that there is still gunpowder in those very powder flasks.

At the premiere of the film, Spielberg said that he had no purpose to make a film for the fans. He wanted to make a picture that could captivate everyone, including those who do not know who Monty Python and the Steel Giant are. Hence the serious differences with the original. For those who have read the book recently, the film will seem too impetuous, but here I will ask you to remember the words that I regularly repeat in every review of the film, which has a literary layer behind it: the book is one field, the film is another, and the berries are there grow different. Yes, the beaten fans will have little prehistory of how Wade lived, the contests for the keys seem too simple, given that with their help the fate of such a big one as the Oasis is decided, and some will not have enough Easter eggs, references and other things. But it is because of this that Spielberg's film is perceived as an independent product, with its own plot, culmination and message.

The individuality of the picture is added not by a very poppy caste, where Tai Sheridan is at the head of the show, a little boy, who has at his disposal the first shots. Enthusiasm of his hero, together with a sincere desire to change not only the world around him, but also the people living in it, contributes to the effect of immersion, and after the first test, we begin to experience with him all that is happening. Next to him runs the charming Olivia Cook, beckoning with her dedication. Of the adults, we have Mark Rylens, who has already become Spielberg's habitue, and Ben Mendelssohn, whose charism is somehow decided to score, turning him into a standard malignant, which we so often see in Marvel's paintings: no motivation, template actions, and lack of emotions in the finale of the story of his hero.

And if in terms of setting we notice the handwriting of Maestro Spielberg, then with the mood of things are worse. I did not in vain mention the selflessness of the heroine Cook, for all the actions of her character bring to the forefront precisely Artemis. She dreams not only to take possession of the Oasis, she wants to change people around with it. This idea is followed by a drag along the whole film, gradually convincing others about the need for all this. It demonstrates that anyone has the opportunity to do anything, and probably this is the key point of the picture - we have the opportunity not only to change ourselves, but also to change the world around. The main thing to understand why you need it? Spielberg's heroes have always sought change, making the world a better place. True, it was all flavored with a good atmosphere, where you wanted to smile, watching as a little Drew Barrymore pulls a finger to an alien with a big head. Wait here about the same? It's you in vain. And you know, maybe this is not bad, but if such feelings and sensations were, they would definitely add color to the picture.

Summarizing the large number of letters written above, I will say that we have the ideal family-friendly movie that would perfectly fit in the New Year holidays. You definitely need to go to him with the whole family, to be surprised by the special effects, to be touched by the romantic line, to laugh at the jokes, of which there is plenty, and just kayfanut from the film, which almost descends for Spielberg's camplay into fantasy. But, if you suddenly snob, not reading the book, but going to do it before the session - think twice. The book is good without a film, the film is good without a book. Keep these words in your head.