Kyra Sedgwick plays a glittered-up TV host, and even Ludacris throws everything at the wall as Brother, the leader of a rebel movement. Hall adopts an indescribable accent and at one point bursts into song. Butler is steely-eyed as always, but he’s the straight man to the goofy performances circling around him.

Gamer’s style is only highlighted by the bonkers performances. Video glitches and rapidly shifting color grading feel weird at first, but become normal with surprising ease. It’s frantic, it’s purposefully unfocused, it’s messy, and it feels awesome. That’s an understatement of Gamer’s style. Gerard Butler’s ultra-serious acting only emphasizes Michael C. Steve Shaviro, a professor of film, culture, and English, wrote a 10,000-word-long defense of Gamer where he describes the cinematography as “intensified continuity,” a post-1960s style featuring rapid editing and experimental lens techniques.

In one scene, Simon scrolls through available weapons, declaring them, “gay, gay, gay, gay, r*****edly gay.” And just in case you were confused about Simon’s sexuality, the way Gamer treats bare breasts is the definition of gratuitous.īut all that is more than worth it for the experimental cinematography, where every shot is treated as an opportunity to break a rule and try something fun. But it’s a double-edged sword the dialogue is equally of its time. Gamer’s late 2000s origin are visible in every moment, from the Society actors dressed like scene kids off to a rave, to the green screen effects that evoke a simpler time when characters walking into a void was impressive.

What follows is a massive conspiracy story with plenty of virtual reality shenanigans. Our hero is Kable (Butler), an “i-con” (yes, really) who dominates the top of the leaderboard, having survived 27 “sessions.” Behind him is Simon (Logan Lerman), a player who stumbles onto a mod that allows him to communicate with the man he’s controlling.

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