Set in a future-world where humans can control other humans in mass-scale, multi-player online gaming environments, a star player (Butler) from a game called “Slayers” looks to regain his independence while taking down the game’s mastermind (Hall).
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Gamer is a strangely prescient dystopia action satire that seems to be made by Neveldine/Taylor as if they binged watched the films of Tony Scott & Paul Verhoeven while candy flipping, AKA doing both molly & shrooms at once. I was quite pleased although also disturbed that this film is becoming closer to our reality. Gamer is transgressive genre filmmaking at its most kinetic & uncompromising.
Watching Gamer and The Dark Knight back-to-back today really made me appreciate just how dynamic Neveldine/Taylor's work is. Nolan's staid, faux-Mann act, while occasionally exciting, on the whole pales in comparison with the formally daring and experimental kineticism on display here.
Very underrated. There was something kind of powerful and incredibly timely about the juxtaposition of blissful consumer culture with the horrific violence the death-row prisoners are forced to endure, particularly when Logan Lerman's character is shown images of the consequences of his gaming.
GAMER is full of brilliant concepts and ideas that get bogged down in Nevaldine/Taylor's visual pizzazz. Their stylish approach serves the material in the CRANK films, here it more often than not causes their ideas to get lost in the noise. The idea behind the SOCIETY game was more interesting to me than the SLAYERS game that was central to the story, to me, SOCIETY has a more interesting movie in there somewhere.
Watching this on Blu-Ray made a big difference for it remaining visually coherent. Dunno if that's a praise or a negative critique.... I thought this movie didn't dig into its ideas about control over others, and the potential for economic windfalls from that. But it presented those ideas in a way where I could fill in my own blanks and think about those concepts seriously, and not every "action movie" can say that.
How can Neveldine/Taylor be so arrhythmic yet maintain such a sense of flow? Less avant-garde in structure than their Crank series, it's also a damn sight more ambitious and winds up one of the most daring commercial projects in recent years.
So Godard, Verhoeven, and Miike I guess got together. Did a bunch of Drugs, fucked. Weeks later Verhoeven gave birth to twins (only in their ideals) Neveldine/Taylor. Then Godard and Miike gave the twins a bunch of drugs, and they began their film career