It's actually hard to review The Lego Movie without spoiling it, because even though the film is a really fun romp through a fantastical world, for me the truly meaningful stuff happens during the parts of the film that were not at all covered in the trailers.
On its face, after all, the animated film directed by Phil Lord and Christopher Miller, really doesn't seem like much more than a 90-plus minute commercial for Lego, especially considering appearances by licensed characters like Batman (played here by Will Arnett), Superman (Channing Tatum), Green Lantern (Jonah Hill) and WonderWoman (Cobie Smulders), but as the narrative unfolds, about a seemingly unremarkable Lego construction worker named Emmett (Chris Pratt) finding himself on a quest to save the world from the evil Lord Business (Will Ferrell), it becomes clear that the movie is pushing more than just the Lego Company's bottom line.
In brief, the aforementioned Lord Business (who also happens to be the President of the Lego City in which most of the action takes place) wants to use an evil artifact known as "Kragle" on all Lego worlds, and only a Lego master builder known as "the special" can stop him, using an artifact known as "the piece of resistance." Emmet, a Lego minifig who is unremarkable in just about every way, is on his way home from work when he stumbles on the "piece of resistance," whereupon, in fairly short order, he finds himself hunted down by Lord Business' chief henchman "bad cop" (Liam Neeson). Fortunately, he also has the help of master builders Wildstyle (Elizabeth Banks), Vitruvius (Morgan Freeman), and the aforementioned Batman, among others, though even they may not be enough to stop Lord Business' insidious plans.
The plot seems generic enough, with a "chosen one" on a quest to stop a bad guy from destroying the world, but the journey is more than worth taking thanks to some astonishing visuals using the world's favorite brick toy, some pretty clever humor and a third act twist that may surprise some and may confirm what others were thinking throughout the movie but which, either way, shows that this movie is so much more than a glorified toy advertisement. Directors Lord and Miller, whose previous animated film feature was Cloudy with a Chance of Meatballs, and who even helped write the script for this film, demonstrate rather convincingly that they are the perfect people for this job.
The nice thing about Lego is that it lends itself to animation quite readily as evidenced by the sheer number of amateur stop-motion shorts (and even features) that have been uploaded to the internet over the years, so the question was always finding a story that stood out, which the filmmakers have arguably done quite well. The next step was to marry computer generated imagery with the stop-motion animation for which Lego has become fairly well-known (e.g., the stop-motion version of Monty Python's "spamalot") and the filmmakers pulled this off with aplomb as well. In fact, the result is quite clever; the CGI basically masquerades as stop-motion, and because stop-motion tends to be jerky, the filmmakers get away with using fewer frames per second than they would on a slicker, more "traditional" CGI film. It's fun to note that the filmmakers try to limit the characters' movements to the range of movements possible with Lego minifigures, although they do "cheat" periodically. Particularly hilarious is the sequence in which the lead character Emmet declares that he will start his day with jumping jacks, which turn out to be severely limited in movement.
As incongruous as this may sound for a movie that features several established characters like Superman, Batman, Wonder Woman and Green Lantern, The Lego Movie is actually about creativity, about breaking boundaries and preconceived or stifling notions of creativity. It's hard to go into this in great detail without spoiling a major plot twist but suffice it to say it is a movie that children and adults can appreciate.
4.5/5
Tuesday, February 18, 2014
Saturday, February 1, 2014
Ice without the Showtunes, or the Princesses: A Review of Snowpiercer
Snowpiercer is a film I consider an overlooked gem. It is an English-language drama (with a smattering of Korean), shot by Korean director Bong Joon-Ho, based on a French graphic novel first published in 1982. I'll be honest; I found out about this film while reading an Avengers-related interview with its star Chris Evans, the American actor best known for playing Captain America in the Marvel Studios films. In short, I basically stumbled onto it.
Snowpiercer refers to a luxury train that can travel all around the world, and which has to, after attempts to contain global warning have brought about a new ice age which has nearly wiped out the entire population of the earth. The train, powered by a perpetual-motion engine that is described as "sacred" contains what is left of the human race. Apparently the apocalypse hasn't done anything to change human nature, and the community on the train is divided into different social classes, with the upper class living the high life while ensconced near the front of the train and the lower class residing right smack at the tail of the train, subsisting on gelatinous protein bars of somewhat eyebrow-raising origin. A revolution brews, however, with the mysterious Curtis (Evans) a man with a dark--(is there any other kind?)--secret looking to lead his fellow caboose occupants in a bid to take over the engine, the train, and therefore the world. While past revolutions have failed, Curtis is confident in the success of this effort because this time, he and his cohorts, who include his right hand Edgar (Jamie Bell), the vengeful parents of two abducted childrenTanya (Octavia Spencer) and Andrew (Ewen Bremner), and the aged amputee Gilliam (John Hurt), have an ace-in-the-hole: they plan to recruit security specialist Namgoong Minsu (Song Kang-Ho), who designed and knows how to open all of the heavy, electronically sealed gates separating the various sections of the train. They face a considerable force consisting of several armed guards along the way, commanded by the slimy Minister Mason (Tilda Swinton), but such is the determination of the ragtag group of rebels that they will do anything and everything to get to the front of the train, no matter what the cost.
The first thing that really struck me about this film was its stunning production value, notwithstanding that it is, for all intents and purposes, an independent production, made without any studio backing. The film takes place almost entirely on board the train, which is realized through a meticulously-rendered interior that would do any major Hollywood production proud. The computer generated imagery, used mainly to depict the train from the outside and the haunting, frozen wasteland that the earth has become, is up to snuff with that of most Hollywood productions, even if it is more impressionistic at times than realistic.
Perhaps it was the ability to put together a production this impressive that drew, apart from Evans, a passel of highly respected character actors like Swinton, Hurt, Spencer, Bremner, Bell, and one of my very favorite character actors whom I will decline to name lest I spoil a story twist. These actors, between them, have either won or been nominated for various acting awards including the coveted Oscar, with Spencer apparently just coming off her 2011 Oscar win when she signed on to do this film, which has yet to be released in the United States. Song and Ko A-Sung, the actress who plays his daughter in the film, play pivotal roles, and even though only Ko speaks English, with Song's character communicating with the other characters through a translator and with the audience through subtitles, they help infuse the film with a unique sensibility that I sincerely doubt a director preoccupied with selling the movie to Western audiences would have been able to achieve. Due respect, however, must go to Evans, who basically carries this film, for turning in a performance that could very easily have been overcooked but which he plays to near perfection. It's hard to discuss the strength of his performance without spoiling certain secrets, so I'll hold off on that and leave it to the audience to be surprised. I realize that people tend not to take comic book movies very seriously, but Evans immerses himself so completely in this role that I would not be surprised if even people who had seen him in The Avengers did not recognize him right away; my wife didn't realize he was the same guy who had played Captain America until about fifteen minutes into the film.
More than flashy sets or effects, though it is far more likely, that the main attraction for everyone involved was the fantastic script, which, while appearing at first to be yet another hackneyed story of the have-nots challenging the haves is, in fact, a somewhat more unsettling look at human nature at its most atavistic. While I was able to predict some story beats there was one revelation very late into the film that really threw me for a loop. While the production value grabbed my attention, what kept me utterly fascinated with this movie was how startlingly intelligent it managed to be, even with the non-stop action, and how, when the climactic confrontation took place, I found myself surprised and even a little ashamed at how I felt at watching it unfold. I imagine the actors involved were drawn to this production because quite frankly it's the kind of movie that most Hollywood studios wouldn't ever have the courage to make, and the fact that no less than Harvey Weinstein, who holds distributorship rights, is contemplating chopping footage out of this movie to make it more palatable to Western audiences somewhat bolsters my suspicions.
I really have to credit Bong and the cast and crew he assembled for having the vision, balls and prodigious skill to realize this extraordinary film. Considering that there seems to be a distinct possibility that several audiences around the world, including Americans, may not get to see this movie, I now consider myself privileged.
4.5/5
Snowpiercer refers to a luxury train that can travel all around the world, and which has to, after attempts to contain global warning have brought about a new ice age which has nearly wiped out the entire population of the earth. The train, powered by a perpetual-motion engine that is described as "sacred" contains what is left of the human race. Apparently the apocalypse hasn't done anything to change human nature, and the community on the train is divided into different social classes, with the upper class living the high life while ensconced near the front of the train and the lower class residing right smack at the tail of the train, subsisting on gelatinous protein bars of somewhat eyebrow-raising origin. A revolution brews, however, with the mysterious Curtis (Evans) a man with a dark--(is there any other kind?)--secret looking to lead his fellow caboose occupants in a bid to take over the engine, the train, and therefore the world. While past revolutions have failed, Curtis is confident in the success of this effort because this time, he and his cohorts, who include his right hand Edgar (Jamie Bell), the vengeful parents of two abducted childrenTanya (Octavia Spencer) and Andrew (Ewen Bremner), and the aged amputee Gilliam (John Hurt), have an ace-in-the-hole: they plan to recruit security specialist Namgoong Minsu (Song Kang-Ho), who designed and knows how to open all of the heavy, electronically sealed gates separating the various sections of the train. They face a considerable force consisting of several armed guards along the way, commanded by the slimy Minister Mason (Tilda Swinton), but such is the determination of the ragtag group of rebels that they will do anything and everything to get to the front of the train, no matter what the cost.
The first thing that really struck me about this film was its stunning production value, notwithstanding that it is, for all intents and purposes, an independent production, made without any studio backing. The film takes place almost entirely on board the train, which is realized through a meticulously-rendered interior that would do any major Hollywood production proud. The computer generated imagery, used mainly to depict the train from the outside and the haunting, frozen wasteland that the earth has become, is up to snuff with that of most Hollywood productions, even if it is more impressionistic at times than realistic.
Perhaps it was the ability to put together a production this impressive that drew, apart from Evans, a passel of highly respected character actors like Swinton, Hurt, Spencer, Bremner, Bell, and one of my very favorite character actors whom I will decline to name lest I spoil a story twist. These actors, between them, have either won or been nominated for various acting awards including the coveted Oscar, with Spencer apparently just coming off her 2011 Oscar win when she signed on to do this film, which has yet to be released in the United States. Song and Ko A-Sung, the actress who plays his daughter in the film, play pivotal roles, and even though only Ko speaks English, with Song's character communicating with the other characters through a translator and with the audience through subtitles, they help infuse the film with a unique sensibility that I sincerely doubt a director preoccupied with selling the movie to Western audiences would have been able to achieve. Due respect, however, must go to Evans, who basically carries this film, for turning in a performance that could very easily have been overcooked but which he plays to near perfection. It's hard to discuss the strength of his performance without spoiling certain secrets, so I'll hold off on that and leave it to the audience to be surprised. I realize that people tend not to take comic book movies very seriously, but Evans immerses himself so completely in this role that I would not be surprised if even people who had seen him in The Avengers did not recognize him right away; my wife didn't realize he was the same guy who had played Captain America until about fifteen minutes into the film.
More than flashy sets or effects, though it is far more likely, that the main attraction for everyone involved was the fantastic script, which, while appearing at first to be yet another hackneyed story of the have-nots challenging the haves is, in fact, a somewhat more unsettling look at human nature at its most atavistic. While I was able to predict some story beats there was one revelation very late into the film that really threw me for a loop. While the production value grabbed my attention, what kept me utterly fascinated with this movie was how startlingly intelligent it managed to be, even with the non-stop action, and how, when the climactic confrontation took place, I found myself surprised and even a little ashamed at how I felt at watching it unfold. I imagine the actors involved were drawn to this production because quite frankly it's the kind of movie that most Hollywood studios wouldn't ever have the courage to make, and the fact that no less than Harvey Weinstein, who holds distributorship rights, is contemplating chopping footage out of this movie to make it more palatable to Western audiences somewhat bolsters my suspicions.
I really have to credit Bong and the cast and crew he assembled for having the vision, balls and prodigious skill to realize this extraordinary film. Considering that there seems to be a distinct possibility that several audiences around the world, including Americans, may not get to see this movie, I now consider myself privileged.
4.5/5
Women as Action Heroes (Mild Spoilers)
Last year was a banner year for films starring strong women: The Hunger Games: Catching Fire was the top grossing movie in the United States and Canada, besting testosterone-fueled fare such as Iron Man 3 and Man of Steel, and Frozen, a refreshing Disney movie about princesses who don't need Prince Charming to be happy is one of the year's top-grossing films. The acclaimed blockbuster Gravity, not only celebrated of the strength of women but featured a bravura performance by its lead star Sandra Bullock, who carried the movie almost entirely by herself, even as she carried another femme-driven movie, The Heat, earlier in the year with co-star Melissa McCarthy. Even the films that weren't anchored by women featured some pretty bad-ass female characters, like Iron Man 3, featured Gwyneth Paltrow's Pepper Potts kicking ass and taking names, The Lord of the Rings: The Desolation of Smaug, which actually introduced a new character to the Tolkienverse: the orc-slaying she-elf Tauriel, played by Evangeline Lilly, and Fast and Furious 6, in which real-life MMA champ Gina Carano got to strut her stuff.
But really, it's Jennifer Lawrence's Katniss Everdeen and Sandra Bullock's Ryan Stone who have really ripped up the form book on women as action stars, hearkening back to the glory days of Sigourney Weaver's Ellen Ripley and Linda Hamilton's Sarah Connor, which basically means it's taken Hollywood roughly a quarter of a century to figure out what James Cameron knew ages ago: that women are completely and utterly credible as action heroes and people will pay to see them in these roles. Anyone who doubts it need only utter the words "get away from her, you bitch" to any one of the millions of self-respecting nerds to whom studios almost always pander when dreaming up their next big-budget, billion-dollar hopeful, and see if he gets the reference.
There's not much else to say that the numbers aren't already saying by themselves, but now that Hollywood seems to have realized that women can actually sell movies while doing a heck of a lot more than fawning over sparkling vampires, maybe we'll see the return of strong female heroes in the mold of Jodie Foster's Clarice Starling from 1991's Silence of the Lambs (although preferably not an actual remake considering we've had waaaayyy too many of those) who basically uses her brain to win the day rather than kung fu.
But really, it's Jennifer Lawrence's Katniss Everdeen and Sandra Bullock's Ryan Stone who have really ripped up the form book on women as action stars, hearkening back to the glory days of Sigourney Weaver's Ellen Ripley and Linda Hamilton's Sarah Connor, which basically means it's taken Hollywood roughly a quarter of a century to figure out what James Cameron knew ages ago: that women are completely and utterly credible as action heroes and people will pay to see them in these roles. Anyone who doubts it need only utter the words "get away from her, you bitch" to any one of the millions of self-respecting nerds to whom studios almost always pander when dreaming up their next big-budget, billion-dollar hopeful, and see if he gets the reference.
There's not much else to say that the numbers aren't already saying by themselves, but now that Hollywood seems to have realized that women can actually sell movies while doing a heck of a lot more than fawning over sparkling vampires, maybe we'll see the return of strong female heroes in the mold of Jodie Foster's Clarice Starling from 1991's Silence of the Lambs (although preferably not an actual remake considering we've had waaaayyy too many of those) who basically uses her brain to win the day rather than kung fu.
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