Mind-control technology has taken society by a storm, a multiplayer on-line game called "Slayers" allows players to control human prisoners in mass-scale. Simon controls Kable, the online champion of the game. Kable's ultimate challenge becomes regaining his identity and independence by defeating the game's mastermind.
Mind-control technology has taken society by a storm, a multiplayer on-line game called "Slayers" allows players to control human prisoners in mass-scale. Simon controls Kable, the online champion of the game. Kable's ultimate challenge becomes regaining his identity and independence by defeating the game's mastermind.
The film explicitly critiques a dystopian future where corporate power exploits and dehumanizes individuals for profit and entertainment, promoting a central thesis of systemic critique and anti-capitalism through its narrative of rebellion.
The movie features a visibly diverse supporting cast, though its central figures are traditional in their representation. The narrative focuses on themes of control and exploitation within a futuristic setting, without explicitly critiquing traditional identities or centering DEI themes.
The film "Gamer" does not feature any identifiable LGBTQ+ characters or themes within its narrative. The story focuses on a dystopian future where death row inmates are controlled in real-life video games, with the plot centered on action, escape, and the protagonist's fight against the system.
The film features female characters, but none are depicted engaging in and winning direct, close-quarters physical combat against one or more male opponents through skill, strength, or martial arts. Their involvement in action scenes, if any, primarily relies on firearms or controlling male avatars.
Gamer (2009) is an original film with no pre-existing source material, historical figures, or legacy characters. All characters were created for this movie, meaning none had a prior established gender to be swapped.
Gamer (2009) is an original film with characters created specifically for its screenplay. There is no prior source material, historical context, or previous installments from which characters' races could be canonically established and subsequently altered.
Combines user and critic ratings from four sources