7.5/10
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1,874 user 559 critic

Ready Player One (2018)

Trailer
2:29 | Trailer
When the creator of a virtual reality called the OASIS dies, he makes a posthumous challenge to all OASIS users to find his Easter Egg, which will give the finder his fortune and control of his world.

Director:

Steven Spielberg

Writers:

Zak Penn (screenplay by), Ernest Cline (screenplay by) | 1 more credit »
Popularity
314 ( 6)
Nominated for 1 Oscar. Another 8 wins & 51 nominations. See more awards »

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Cast

Cast overview, first billed only:
Tye Sheridan ... Parzival / Wade
Olivia Cooke ... Art3mis / Samantha
Ben Mendelsohn ... Sorrento
Lena Waithe ... Aech / Helen
T.J. Miller ... I-R0k
Simon Pegg ... Curator / Ogden Morrow
Mark Rylance ... Anorak / Halliday
Philip Zhao ... Sho
Win Morisaki ... Daito
Hannah John-Kamen ... F'Nale Zandor
Ralph Ineson ... Rick
Susan Lynch ... Alice
Clare Higgins ... Mrs. Gilmore
Laurence Spellman ... Lame Tattoo Guy (Reb)
Perdita Weeks ... Kira
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Storyline

In the year 2045, the real world is a harsh place. The only time Wade Watts (Tye Sheridan) truly feels alive is when he escapes to the OASIS, an immersive virtual universe where most of humanity spends their days. In the OASIS, you can go anywhere, do anything, be anyone-the only limits are your own imagination. The OASIS was created by the brilliant and eccentric James Halliday (Mark Rylance), who left his immense fortune and total control of the Oasis to the winner of a three-part contest he designed to find a worthy heir. When Wade conquers the first challenge of the reality-bending treasure hunt, he and his friends-aka the High Five-are hurled into a fantastical universe of discovery and danger to save the OASIS. Written by Warner Bros.

Plot Summary | Plot Synopsis

Taglines:

An adventure too big for the real world See more »


Motion Picture Rating (MPAA)

Rated PG-13 for sequences of sci-fi action violence, bloody images, some suggestive material, partial nudity and language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

USA | India

Language:

English

Release Date:

29 March 2018 (USA) See more »

Also Known As:

Ready Player One See more »

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Box Office

Budget:

$175,000,000 (estimated)

Opening Weekend USA:

$41,764,050, 1 April 2018

Gross USA:

$137,690,172

Cumulative Worldwide Gross:

$582,890,172
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | Auro 11.1 | Dolby Atmos | SDDS | Sonics-DDP | DTS (DTS: X)

Color:

Color

Aspect Ratio:

2.39 : 1
See full technical specs »
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Did You Know?

Trivia

During the scene in the dance club where i-R0k tells the girls to leave the booth, the song "Blue Monday" by New Order is playing. In the movie The Wedding Singer (1998) (which is another movie deep in 80s trivia), the same song is playing when Adam Sandler and his co-stars are in a very similar dance club in a nearly identical booth. See more »

Goofs

Near the end of the movie, a policeman gets back into the left hand drive Columbus Ohio police vehicle on the right hand passenger side, incorrectly its black steering wheel is seen, indicating that the police vehicle is not left hand drive. See more »

Quotes

[first lines]
Announcer: Get ready for the feel, the real of real. X1. No pain, no gain.
See more »

Crazy Credits

The title doesn't appear till about 10 minutes into the movie See more »


Soundtracks

One Way or Another
Written by Nigel Harrison and Debbie Harry (as Deborah Harry)
Performed by Blondie
Courtesy of Capitol Records
Under license from Universal Music Enterprises
See more »

Frequently Asked Questions

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User Reviews

 
An Instant Classic
20 March 2018 | by ArchStanton1862See all my reviews

I honestly didn't think that Spielberg had another crowd-pleasing actioner left in him. For the last decade or so his focus has been on more realistic period dramas and character pieces. His attempts at grand action spectacle (the underrated Tintin aside) were underwhelming. But who knew he had this left in him?

This film is an absolute blast. It seamlessly combines reality and animation into one big, exciting adventure. I'm still not completely sure how it pulled it off. I was absolutely amazed at how seamlessly the film merged animation with reality (I'd say only perhaps 1/3 of the film takes place in the "real" world) and gave the obviously digital environments emotional and kinetic weight. That's a very hard balance to pull off and this movie doesn't even raise a sweat. In fact, some of the best scenes revolve around the absurd mix of online and real existence. Pretty much every scene in Sorrento's soulless corporate HQ is a riot because of the seriousness with which they take their involvement in this silly online world, made even more ridiculous by the motions they all make in their VR suits as they react to unseen perils like well-dressed mimes.

I have no doubt that this film will receive a lot of flak for its reliance on pop culture artifacts. And there's some truth to the criticism. The best scene in the movie is when one of the characters waits in an almost meditative trance during the fight scene until he cries out "form of a gundam" in Japanese and awesomeness ensues. Would this scene work as well if it hadn't been a recognizable brand? No question it wouldn't. And that goes for an infinite array of references, from the Iron Giant to the Delorean to an absolutely perfect Overlook Hotel to Chucky ("Oh God, it's f*%@ing Chucky" has got to be the second greatest line in the movie).

But to say that this is nothing but leaching off others' success is unfair. The references are there for a reason. This is a Geek movie, and for geeks this sort of referencing is how they approach the universe. It'd seem odd if there were no open pop culture references in a free-for-all online world. More to the point, the film has a lot to say about online culture and the isolating effect it has on people. The film isn't all pretty colors and film references, it deals with issues like how real the connections we form online actually are, the ever-decreasing distance between fantasy and reality, the importance of community involvement, and all sorts of identity issues that arise when we can hide behind avatars. Not that I'd call the film overly deep or anything, but it's certainly more than just a collection of pop culture references thrown together with minimal plot.

The characters are all good fun. Parzival and his mate Aech are just like a lot of friends I know online, although Parzival's shallowness gives him a good obstacle to overcome. Art3mis is a bit more driven and has goals that take her further than just being the best at a video game. Parzival has a major cyber-crush on her, which is something of a problem. Daito and Shoto are somewhat more distant online rivals. All of them have great moments, but most come after their true selves get revealed around 2/3 of the way through the film. Some of them are very surprising (don't look at the cast list) and they are all funny together. Krennic's director Sorrento is a great villain. He's so full of himself and contemptuous that his appearance in-game as a muscular brute in a business suit dealing with mystical things he cares nothing about is a blast. And when he's cornered he can be hilariously practical. His online minion i-R0k is also priceless, the sort of super badass dude living in his mom's basement that you can only find in video games. Mark Rylance steals every scene he's in as the vaguely Wozniakian creator of the game. He's a rather sad figure, one who could never handle reality with such aplomb as he does the world he designed. I was surprsed to see Simon Pegg as his co-founder, a somewhat wasted role but nicel different from his more usual fare.

And I really really didn't think Spielberg could pull this off. It's hard to write a love letter to your favorite films when you're the creator rather than consumer. I'd have been more comfortable with some younger director who grew up on these films. I mean, his works aside I can't recall Spielberg ever displaying much interest in video games or Japanese pop culture (post-Kurosawa at least). Yet this film depends on its immense love of such elements. Perhaps a lot of it comes from the screenplay by the novel's author and Kal Penn, two people eminently qualified to pull this off. But it could never have succeeded without the passion of the maestro himself, and succeed it does. I went in with low expectations and had an absolute blast. But more importantly: I understood that reference.


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