In a future mind-controlling game, death row convicts are forced to battle in a 'Doom'-type environment. Convict Kable, controlled by Simon, a skilled teenage gamer, must survive thirty sessions in order to be set free. Or won't he?
Ken Castle is extremely rich, popular and powerful since he invented and started exploiting the virtual online parallel reality games, in which people can either pay as user or be paid as 'actor' in a system of mind-control. The ultimate version, Slayers, fields death row convicts as gladiators in a desperate dim bid for survival, which no-one made yet. The champion, John 'Kable' Tillman, was scheduled to die just before he'ld gain release, but he persuades his teenage 'handler' to hand over the reins so he can fully use his talents and experience. Thus Kable escapes to freedom, only to be chased illegally by Castle's men, yet fights back all the way to his HQ and challenges his evil hidden plans.
Brian Taylor and Mark Neveldine are filmmakers I&#39;ll want to look out for for a while. The first two Crank films they made are bubble gum soaked in chicken-flavored gasoline and they&#39;re superb at being just relentlessly tasteless fun with a gimmick that is ripped from DOA for part one and High Voltage you just have to see for yourself. But with their third film as a writer/director combo, Gamer, they take themselves far too seriously for their good. This might have not been a problem had they been able to take all of their ideas into better fruition. The chief idea in Gamer is that (literally) a corporate mind-f***er uses his billions to create two virtual-reality simulation games, one called Society and one called Slayers. The former is like the Sims where people strap themselves in and create their own people (but are actually people already) and put them in a &#39;society&#39; of crazy interaction. The latter is more like a Halo or shoot-em-up with lots of soldiers ala Death Race fighting for their death-row pardon.<br/><br/>Neveldine and Taylor have passion going on for this project, but they also don&#39;t know how to create an action scene past a certain point. For the Crank films their adrenaline-junkie style suited perfectly. For this, when we see the first big action shoot-em-up scene with the Slayers, the done in a style where we can pretty much see what&#39;s going on with the cranked-up (some pun intended) camera-work, while the editing is what makes things completely unhinged and detached. I never got involved in the action after a certain point because the filmmakers didn&#39;t try anything new. It is, I suppose then, much akin to a rated-MA video game, only here controlled by the likes of a 17 year old punk who takes over the &#39;star&#39; Kable played by Gerard Butler.<br/><br/>When we see the ideas introduced and the whole method of Ken Castle (Michael C. Hall) with how he is able to lock the players in with their playees (aka slaves) and how this is one of those insidious plots that could stretch out across the entire world, it sounds interesting. But, again, nothing is taken as far as it should be… except, of course, with other ideas that are just ripped out of a lot of other action movies. Such as, for example, the whole thing with Kable, how he&#39;s got a wife and daughter and is actually a good guy who was (spoiler) controlled in the state of mind he was in when he killed someone and got on death row, and has to escape and becomes part of the resistance and then goes after Ken Castle who has his daughter and yada-yada. Even when Butler is put up against a very scary/big looking black dude played by Terry Crews it&#39;s not done quite enough for laughs, and too over the top to be taken seriously.<br/><br/>The visual style is also drab, full of grays and browns and without much texture - that is until you get into &#39;Society&#39; which, for me, looked much more interesting even with Taylor/Neveldine&#39;s typical frenetic camera and obsession with the grotesque and breasts and S&amp;M imagery. I suppose it may be a matter of taste up to a point, as I&#39;m not a hardcore gamer and looked at it more as a movie in and of itself as opposed to a big gushing exploitation-homage to 21st century video games. But even some of the die-hard Call of Duty or Sims players may tire of the head-thudding camera and fx and Butler&#39;s too low-key performance (or just bland). Only Michael C. Hall really gets it, and sinks his teeth into a character who, frankly, should have been more prominent as the big-bad Big-Brother-incarnate antagonist (at the least he&#39;s given a musical number late in the film to &quot;I Got You Under My Skin&quot;.<br/><br/>If you love a solid action movie, or like what these guys have done, it might be worth it to see it, but it&#39;s nothing to rush out for. It&#39;s admirable that they made a first big, grungy attempt at achieving a place in the important-post-apocalypse movie sub-genre. But it&#39;s also sad that it keeps moving forward without anywhere interesting to go.
This film is about a world of virtual reality, where game consoles can control the mind.<br/><br/>&quot;Gamer&quot; is a really bad film, because it simply does not make any sense. No sense at all. I sat through the film, and I could not understand a thing. Reality and virtuosity seem to merge in the film, making it confusing. There are many attempts to make the film look stylish and cool, but they all backfired. Instead, most scenes look annoying, irritating and sometimes outright ridiculous. We don&#39;t need to see men that flicker on screen! The outright pornographic images and the excessive gore do not add entertainment value to the film, instead only adding disgust and contempt for the film. Avoid &quot;Gamer&quot; like plague!
Directors Mark Neveldine and Brian Taylor were responsible for the delirious "Crank" and "Crank 2" but left the magic behind when they threw together this tedious mash-up of "Tron," "Rollerball," "The Matrix," etc.
Gamers is based on a screenplay by written and directed by American film-makers Mark Neveldine and Brian Taylor, who also co-directed the movie. John Tillman is his real name. The name &quot;Kable&quot; was given to him since he was in the Slayers game. The Nanites actually replace existing brain cells, probably those in the motor cortex, which control movement. People who have them are able to think and feel but not move on their own. The nanites are able to receive information from a transmitter and can send out any information they see or hear. They cannot be removed without killing the person.It is explained that the US prisons were so overcrowded, they were on the verge of bankruptcy. Castle&#39;s company provided funding in exchange for using the prisoners for his game, having made his fortune with the game Society. Also, there was a vote, and 68% of Americans voted in favor of using prisoners for sport. Given the film&#39;s timeline, it appears that (a) Kable was jailed, (b) his wife was unemployed for a time, © Child services took away their daughter and placed her in foster care, and (d) the only job she could get was in Society in a bid to regain custody of their daughter. However, later in the film, it is revealed that Castle may have influenced events. Partly. Indeed a petrol engine car can run on a mixture of ethanol (i.e. drinking alcohol) and gasoline. A car today needs about an 85% mixture of gasoline to ethanol to run. In terms of the movie, this means the truck is running because there is already some gas in the tank. However, a car needs a special carburetor to run with only ethanol instead of gasoline, and common potable ethanol is not flammable enough to run an engine, even with the special carburetor. Fuel-grade ethanol is usually 100% ethanol, while beer and wine are around 8% by volume, regular &quot;hard&quot; drinks have 40% (80 proof), and very few drinks have 75% (~151 proof). It&#39;s possible that what Kable drank was well-over 151 proof, but the effect upon his senses and motor function would&#39;ve been severe, especially given the intense physical activity which likely sped up his metabolism. (The drink could&#39;ve been spiked with medication that slows down metabolism, but that&#39;s reaching and also contradicts the point of urinating into the fuel tank.) Therefore, the truck in Gamer should not be able to run, especially with the &quot;extras&quot; added to the mix. That being said and given that the film takes place in the future, maybe cars at that time are equipped to run on ethanol instead of gasoline. However, it&#39;s very unlikely that store-bought alcoholic drinks could run such a car, and the chances are even lower on a mixture of alcohol, vomit, and urine. In summary, the truck very likely could run because of existing fuel already in the tank, and what Kable did was probably completely unnecessary. As shown in the movie, there were security cameras in the locker room, and they spotted it. It would have been confiscated.First, the audience cannot be sure what actually goes on in Society. There are two implied sex scenes. In the first, Kable&#39;s wife propositions the Pig-Nosed Man, and then it cuts away. Later, we see that she is unharmed. In the second implied sex scene, we see the upper torso of a naked woman hopping up and down in the rave. Given today&#39;s MMORPGs, it is quite possible that the &quot;sex&quot; in Society is actually quite tame and PG-rated, with the situation being much more interesting than the actual graphics. On the other hand, if actual sex did occur, it would be covered on the same statutes as pornography, which is legal in many countries as long as there is consent. The movie does not explain how far the actors are required to perform a sex act, but either way, it would be legal. Alternatively, many films extrapolate the future of the human race with the assumption of further lapses in censorship and &quot;acceptable morality&quot;, therefore it&#39;s entirely possible in this future the sex implied on screen is entirely legal under the current laws. It&#39;s also possible that the facilitating of Society involves some illegal activity that is undetected or being ignored by the justice system.
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