Ryan Reynolds
, asks a probing question: how much culture can you take? Not culture in the snooty, old-fashioned sense of echoing art museums and stuffy opera halls. Culture as in what is actually widespread today, particularly with regard to video games and Twitch streaming and tech hustlers.is an immersion into that world, or at least a major entertainment company’s approximation of it.
The sordidness, the grimness, that exists in the real thing—gamer society is, like all others, not without its ills—is nowhere to be seen in Levy’s film. Nor is, really, any of its more admirable texture, its inventiveness and creativity. Butis otherwise a full-bodied attempt to link up the old commerce of movies with an independently thriving revenue stream, one full of its own tribes and ecosystems that, to a steely eyed executive, might look quite tantalizingly like vast territory to mine.
, the brutal truth was that one solitary man was the unwitting star of a television show, a commentary on fame and the nosiness of the public that presciently foretold the reality TV age. In, the core argument is much more specific. It concerns the relentless, unthinking violence that gamers around the world happily visit upon non-playable characters in games like.
That a video game character could evolve into a sentient being is an interesting speculation, not dissimilar to the eerie insinuations ofis a big 20th Century/Disney movie , and so can’t dwell on the darkness for too long, or really at all. Instead, Levy and screenwriters
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