Modest box office bomb (with returns totaling significantly less than its budget of $50 Million) and object of derision,
Gamer is nothing less than a grand "what's it." Back in 2009, I deemed the film a grand folly that traded in stupidity and wretched excess (my opinion on
Crank 2: High Voltage was very similar). Now, after another two viewings, I must admit I was pretty off the mark. Though the frenetic surface may keep many sensible viewers at arms length, there's a hell of a lot bubbling under the surface of Neveldine & Taylor's magnum opus. Not all of it is wholly effective, as there are stretches of crude exposition dumps, but when it works it's near masterful.
Convicted of a murder he himself did not commit, Gerard Butler's John "Kable" Tillman must now fight through thirty battles for release. Early wide-angle handheld images plunge us into the chaotic war-torn arenas in which pampered gamer Simon Silverton (Logan Lehrman, donning a crank shirt) puppeteers Kable's fight for survival in a holographic cocoon of Skype and social networking feeds. With the aid of a single nano-cell, which then replicates itself throughout the brain allowing for remote access, Simon essentially has control over him like a Wii character. Kable's wife, also, is part of the sphere of controlled humans. She works in "society", essentially an community in which players can engage in a number of debased acts. In effect, it resembles what a horny teenager's fantasy Sim world would resemble.
As the creator of the gaming societies in which the world follows and engages in with rabid attention, Michael C. Hall's wonderfully grandstanding Ken Castle (whats up with the blatantly symbolic names?), haughtily gloats of his achievements at every chance. Making appearances on talk-shows with media *****s (Kiera Sedgwick chewing up the scenery in true Verhoevian-style), the world is his stage to dance on. At one point he does, in fact, dance to Sammy Davis Jr.'s version of "I've Got You Under My Skin", aptly enough, in one of the more memorable sequences of the last several years. However, his expenditures on marketing has overcome his technological advancements (sans the nest generation slayer in Terry Crewes), allowing for the emergence of a resistance faction, called the "Humanz" led by Brother (Ludacris). They have managed to contact Simon on the outside with the intention of unplugging Kable so they can bring the entire system down on it's head. When Kable finds out about the opportunity, he pleads, "turn me loose", with the fresh faced sixteen-year-old. One way or another, he will get his wife and child back (in a scene reminiscent of Boogie Nights, she is turned down the opportunity to apply for custody).
It is exactly, here, when his status is changed to "Fragged", where I'm sure many people had problems with the film. Yes, it's incredibly easy for Kable to acquire his end goal. Seemingly, all you need is a gun and the aid of several fine computer hackers to "get unplugged" from the nanex and to track down the most powerful man in the world. But it is crucial to note Neveldine & Taylor have no intention of marrying their dystopia with reality. This universe that they create, captured with chaotic expression brio, is ripped straight from the id of warped gaming culture. On the surface, "Society" is a candy-colored utopia of sexual favors and debauchery, but revealing images of the users inform us of the truth. Images in which he stuffs Waffles saturated in pools of syrup into his mouth may come off as in poor taste to some viewers, but they are indicative of the type of edge the young directors have over their action film-making contemporaries. They capture sights and sounds straight out of the recesses of their finicky minds with such unfiltered vigor, that it becomes impossible not to go along with the ride. They are, seemingly, seduced and critical of all the inanity on display, so in effect, they are almost satirizing themselves as much as they are The Man" (references include ones to the Emergency Economic Stabilization Act of 2008 and the deteriorating state of the health care system), reality television, and the video game obsessed.
Only a few filmmakers (Tony Scott being the prime example) have harnessed he full potential of freneticism as Avid alchemy has become more popular in recent years with the advent of digital editing software. The work of Neveldine & Taylor belongs in the category of the style done right. Whiplash-inducing camera work (some of which was achieved on roller skates) and quick cutting is employed, here, no other reason but the kinetic, but it totally works. The way they shoot an air hockey match between two of the resistance members resembles a drunkard's point of view as he whips his head, from left to right, eyes intently on the puck, is just so comically infused. And the rest of the film is pitched at the same note. Borne out of the garish look of first player shooter games, it becomes a conduit to vicariously experience the thrills of gaming for people like myself, all on top of being an indictment of gaming culture.
3.5/4
All countries
Argentina
Austria
Belgium
Brazil
Bulgaria
Chile
China
Colombia
Cyprus
Czech Republic
Estonia
Denmark
Finland
Greece
Hong Kong
Hungary
Iceland
Indonesia
Ireland
Israel
India
Latvia
Lithuania
Malaysia
New Zealand
Norway
Philippines
Poland
Portugal
Romania
Russia
Singapore
South Africa
South Korea
Sweden
Switzerland
Taiwan
Thailand
Turkey
Ukraine
United Arab Emirates
I promise I'll see it sometime this year (waiting for a $10-ish price). If worse comes to worse...I'll have to (gulps) rent it
And when are you going to check out the real dump load of shit Andrew and myself have set up for you?
But as for Triangle, it sounds as safe as Blindbuys get for me.
Loved how hyper Gamer is. It's all over the map and brimming with juice. Basically, like I stated--the ending is kind of filled with symbolic imagery:
6/10
Linear Mode
