GAMER

US, 2009,
Gerard Butler, Michael C. Hall, Logan Lerman, Amber Valetta, Kyra Sedgwick, Allison Pill. Ludicris.
Directed by Neveldine/ Taylor.


After the hijinks and violence of Crank, then the off-the-wall and over-the-top style of its sequel, Crank High Voltage, fans know what to expect from the writing/directing team who go by their surnames, Neveldine/ Taylor.

However, this one, which shares the delirious visual style of its predecessors, actually has some plot and themes – which may or may not be appreciated by the video game players (addicts) for whom the film was made.

Once again, especially during the credits with footage from the fine nature film, Baraka, the editing has us reeling as it introduces a world, 'not too many years from this exact moment' (sic), and shows us New York hooked on a huge television game where characters are controlled by the players at home. The game is called Slayers and the characters, especially Kable, played with determination by Gerard Butler, are prisoners with life sentences – if they can survive a number of games, they receive a pardon.

Slayers and its previous game show, a sex show called Society, are the brainchildren of a multi-millionaire (acquired more quickly, he says, than Bill Gates) whose aim is mind control and world domination. He is played by TV's Dexter, Michael C. Hall, a man of menace as well as media charm and who breaks out into a song and dance routine of Cole Porter's Under My Skin as he prepares combat with the hero. It is that kind of film.

Kyra Sedgwick is an ambitious TV host who wants a story as the hero escapes from his game and from prison and goes in search of his wife, who is trapped as a controlled performer in Society, and his daughter.

This is a future where the population is hooked on sensationalist reality TV and self-indulgence, where a power-hungry madman has invented cells for replacement of brain matter so that everyone does his will. However, there is a resistance group and even the media host gets a trace of conscience. The message is the usual one, that freedom, obtained by heroic individuals, is what humans really need and want. It's just that along the way, Neveldine/ Taylor exploit, with great visual sensationalism and flair, the uglier and violent side of this futureworld. (Film Buffs have noted the similarity to the plot of the Arnold Schwarzenegger thriller of 1987, The Running Man.)

1. 21st century science fiction, in the world of computer games, reality television, of society’s self-indulgence and apathy?

2. The visuals of the film, production design and values? The cities, the buildings, homes, television, the world of affluence, the world ordinariness – and of computer games players? The visualising of the technical aspects, the games, transmissions, controls? Action sequences, stunts and effects?

3. The basic premise, ordinary citizens being able to control people in the game? Those controlled having to win their battles for freedom? Their brains affected? The megalomaniac businessman and his work on human brains, to control people?

4. The focus on Simon, adolescent, love of games, his involvement, his passion, self-centred, reclusive, his relationship with other people, isolation? In his room, screen his control? His controlling Kable, the battles, the dangers? Gradually becoming more involved in the real story, in the action, the effect on him, for Kable? Participating in the rescue, victory and death of Castle?

5. Ken Castle, his personality, eccentric, his bursting into song and dance, his relationship with other people, control? Brainwork? The games, Slayers, Society? Games of sex and violence? His controlling the games, the prisoners, getting involved in their lives, their quests? The build-up to confrontations, defeat? Players becoming independent?His becoming more cybernetic?

6. Gina Parker Smith, her work as a journalist, Television, investigations? Her personality, ambition? Her ruthlessness? Greater involvement, a change of heart, with Kable? Contributing to change and the defeat?

7. The variety of personalities within the games? Kable, the serious hero, the murder, scapegoat for Castle, in prison, being controlled by Simon, communicating with Simon, the visualising of the many battles that he had to go through to win? The game becoming more of real life? Rescuning his wife? Victory?

8. The characters in the games, energy? The presentations of violence? Brutality? The visualising of sexuality – and exploitation?

9. The Humanz, a rebel group, secrecy, the personalities, their leadership, motivation, Castle and his pursuit, the attack and deaths? The leadership and collaboration in Castle’s downfall?

10. Trace, her character, involvement in the action?

11. The film seen as a giant videogame of the big screen, the characters, the action, dangers, control and being controlled?

12. The film seen as a futuristic parable, the surrender of mind and imagination to authorities and their powers? Exploitation? The challenge to move out and to move into reality?

13. The film as heightened, very heightened, reality? The presentation of the games and the action as critique by parody? Computer game fans not liking the film? The split reaction, for and against, by bloggers and fans?