Keeping the spirit of the nostalgia porn novel it’s based on, if not the specific plot, Ready Player One simplifies and adjusts a lot of the source material. In doing so, it’s alleviated some issues (the deus ex Morrow of the book was the weakest aspect that is thankfully excised here, also WAY less Rush), but it’s created a slew more. While it’s s visual feast, the entire film is a series of easter eggs whose major theme is the celebration of easter eggs, it excises too much of what made the book great (an almost singular focus on 80s nostalgia) and replaced it with dumber methods of getting the plot from point A to point B.
Meryl Streep. Tom Hanks. Steven Spielberg. It’s so easy to take for granted how good these titans are, it’s almost boring to see them churn out another great film. But the triumvirate at the center of The Post, which details the newspaper’s salvo into political prominence with its publishing of classified government documents regarding the Vietnam war, deliver an exhilarating, thrilling testament to the importance of a free press. The movie is timeless, the fashion and setting of the early 70s don’t choke the film with nostalgia, and yet it’s also, almost accidentally, the perfect movie for our current existence: an aggressive, contrarian president who cultivates a distrust in the media while seeking to bury his own criminal activity (you know, allegedly). It’s also a movie that explores the rise of feminism through Post publisher Kay Graham (Streep) and her authority, as it is questioned, challenged, and undermined by the men that surround her.