A LEGO UP

Opening this weekend:

 

Whenever the subject of Legos comes up, as it does more and more frequently in popular movie reviewing, I feel the need to mention that I never had Legos as a kid, or particularly wanted them. Nor have I played with them as an adult. Even so, I've enjoyed all of the Lego movies I've seen.

2017's The Lego Batman Movie was my favorite, an on-the-money spoof of torturous, "dark" superhero flicks. But 2014's original The Lego Movie was a charming, funny, unpretentious meditation on conformity versus individualism.

Now we get the sequel to that film, The Lego Movie 2: The Second Part, directed by Mike Mitchell from a script by Phil Lord, Christopher Miller and Matthew Fogel, and set, appropriately, five years after the events of The Lego Movie. The locale, once again, is the vast Lego metropolis of Bricksburg. The name has since been changed to "Apocalypseburg," however, after an invasion of cutesy but lethal aliens has reduced the town to dystopian wreckage. Even so, our hero Emmet (Chris Pratt) remains as upbeat and cheerful as ever.

When aliens abduct Lucy (Elizabeth Banks), Lego Batman (Will Arnett), and several of Emmet's other friends, taking them to the distant "Systar System," Emmet follows, intent on rescuing them. Along the way, he meets Rex (also Pratt), a tough guy space mercenary—with a crew of dinosaurs!—who helps him summon reserves of gritty resolve.

This is only the beginning of the plot's twists and turns. Like its predecessor, Lego Movie 2 is a dense and complex piece of storytelling. It's almost—though maybe not quite—as seamlessly thought through as the original, yet it flies along with effortless speed and precision.

As before, much of the comedy derives from the limited range of motion available to Lego figures, and there were gags that went over my head. I don't know why, for instance, sequences of numbers appear onscreen when the characters are building some new contraption, but I'm guessing this involves the technical side of Lego-building. There are also endless, and amusing, references to pop culture classics starting with Planet of the Apes and 2001 and carrying on through Jurassic Park and the Lord of the Rings movies up to the most topical industry gossip, and even a quick nod to RBG.

The voice cast also helps, from Pratt's openhearted sweetness as Emmet and his jaunty Kurt Russell-like swagger as Rex, to the tough but soulful heroine of Banks to Arnett's growl as Batman. Most hilarious here is Tiffany Haddish as Queen Watevra Wa-Nabi of the Systar System; her blossoming romance with Batman made me feel protective of both characters.

Check out my "Friday Flicks" column online at Phoenix Magazine, with reviews of What Men Want and The Isle, plus a preview of the Greater Phoenix Jewish Film Festival. Also, check out my review of the Broadway version of Disney's Aladdin, playing through February 17 at Gammage Auditorium.

RIP to brilliant, funny Albert Finney, passed on at 82.

BRICK BAT

Opening this weekend:

The Lego Batman Movie—Even though I never had Legos as a kid, nor played with them as an adult, I enjoyed 2014’s The Lego Movie and A Lego Brickumentary. I think I liked this cubist take on the Caped Crusader best of all, however.

Directed by Chris McKay from a script by, among other hands, Seth Grahame-Smith of Abraham Lincoln, Vampire Hunter, it’s a highly observant spoof of the sort of turgid, self-important superhero epics that have, for me, taken a lot of the fun out of the genre. Batman, growled here, as in The Lego Movie, by Will Arnett, is a vain loner, obsessed with his “nine-pack” abs, and opposed to letting anyone help him with, or share the glory of, his exploits. Partly this is ego, but he also can’t bear the idea of personal attachments of any kind—he watches Jerry Maguire and cackles loudly at the line “You complete me.”

He even wounds the feelings of Lego Joker (Zach Galifianakis) by refusing to admit that, as enemies, the two of them share something special. In response the Clown Prince of Lego Crime hatches a magnum opus scheme against Lego Gotham City, involving not only the DC stable of villains but…

Well, I shouldn’t give away too much more. Suffice to say that Lego Robin (Michael Cera), Lego Batgirl (Rosario Dawson), Lego Superman (Channing Tatum) and Lego Alfred (Ralph Fiennes) all get involved in the story, among many other classic characters. The gags are obsessively detailed and fly by at furious speed, yet somehow, maybe because of the geometrical nature of the figures, the action remains more lucid and coherent than it is in many of the movies being sent up here.

Better still, unlike many of the targets of its parody, it clocks in at well under two hours.

LEGO BIG OR GO HOME

Opening today at Harkins Shea:

A Lego Brickumentary—Beyond question, this documentary makes a convincing case that Legos, the little interlocking plastic bricks and the infinite variety of playsets they’ve inspired, are among the most culturally influential toys in the world. But as far as I can recall, I never had Legos as a kid. I can’t even remember ever playing with them at another kid’s house.

So, as with last year’s The Lego Movie, I didn’t have the same direct emotional, nostalgic connection to the subject matter as many people of the last few generations. I watched this Brickumentary as an outsider.

Even from outside, however, it’s an interesting story. Narrated by a Lego “minifig” voiced by Jason Bateman, the movie sketches the history of the line, which originated in Denmark in the late ‘40s—the corporate headquarters is still in Billund—then goes on to wander the world, showing the various subcultures and sub-subcultures that have sprung up around “BrickCons”: The AFOLs (Adult Fans of Lego), KFOLs (Kid Fans), and their terminology, like BURP (Big Ugly Rock Piece). My favorite bit of this slang was a “1x5,” here explained as a hot chick; as much a rarity at Lego gatherings as a brick of those dimensions.

We’re also shown the uses to which the bricks have been put in science, art, architecture, filmmaking and therapy. And we get interviews with celebrity AFOLs like Ed Sheeran, Trey Parker and Dwight Howard.

Slickly directed by Kief Davidson and Daniel Junge, A Lego Brickumentary is watchable and pleasant, driven along by colorful Lego animations and a fine, sprightly score by John Jennings Boyd. Parts of it are intriguing, parts are funny, here and there—as when we see an autistic kid’s enthusiasm for Lego—it’s even a little bit touching.

Overall, though, the film has a somehow impersonal feel, almost like a string of human-interest stories from a TV newscast, edited together. Lego is not, perhaps, a trivial subject, but this movie feels like the corporate official story, and as a result, I regret to say, all in all it’s just another brick in the wall.

BOG POST

The documentary A Lego Brickumentary opens here in the Valley tomorrow, so…

Monster-of-the-Week: …let’s acknowledge the Lego Swamp Creature…

This trident-wielding fellow is part of Lego’s Monster Fighters series, introduced in 2012. His set includes a gritty-looking swamp rat, an airboat and a hip swamp hangout...

OLD MASTERS AND CUBISM

Opening this weekend:

The Monuments Men—It’s worth remembering that the Nazis weren’t just murderers, they were also thieves, looting and hoarding the art treasures of the countries they occupied. Formed in 1943 to work against this shameless robbery was the Monuments, Fine Art and Archives program, known for short as the Monuments Men, a division of Allied forces made up of artists, restorers, collectors, architects and the like in charge of recovering and returning this incomparable booty.

Out of Robert M. Edsel’s acclaimed nonfiction book on this outfit’s intriguing exploits, George Clooney and cronies have crafted a throwback. The Monuments Men is sort of a benign, high-minded version of the facetious buddy-ensemble military actioners that were popular in the ‘60s and ‘70s, like The Dirty Dozen and Kelly’s Heroes and What Did You Do in the War, Daddy? Like those films, it’s not likely to be regarded as a piece of high cinematic art, and like those films, it’s relaxed and engaging—a guy movie for middle-aged gallery rats. The composer, Alexandre Desplat, even provides a jaunty march theme, a la The Great Escape.

Clooney co-produced and co-wrote the script with his frequent partner Grant Heslov (who has a small role as an army surgeon), and provided the easygoing direction. As an earnest MFAA Lieutenant, Clooney also leads his cast into battle, searching for such prizes as Michelangelo’s Bruges Madonna and the Van Eyck Ghent Altarpiece. His followers include Matt Damon, John Goodman, Bill Murray, Jean Dujardin, Bob Balaban and Hugh Bonneville. It may be noted that most of these guys are a trifle long in the tooth for basic training, and Clooney doesn’t hesitate to use gray hair and paunches for their comic value.

But these actors are proven good company, and that’s what they add up to here. Murray and Balaban pair off into a mild comedy team, and Goodman and Dujardin show a pleasing rapport together as well. Damon is particularly good, managing a few sweet, wistful scenes with Cate Blanchett, as his Parisian contact who has secretly tracked the art’s destinations (her character is based on the marvelous real-life Resistance figure Rose Valland), without trying to turn them into feverish drama.

While recognizing its limitations, I enjoyed The Monuments Men a lot. It’s fascinating material, and the cast is tough to beat, and its old-fashioned feel carries, for guys of my age, a nice dose of nostalgia. But I think the real source of its charm may be that it begins as the war is ending—with the Nazis in ignominious retreat, and the shattered ruins of western Europe starting to take a breath. The very fact that the Allies could start worrying about getting art back to its owners was a sign that the good guys were winning.

Because of this, the lackadaisical pace that Clooney sets is almost a benefit. The Monuments Men is no monumental movie, but it’s suffused with a refreshing sense of day breaking after a long and horrible night.

The Lego Movie—Not only did I never have Lego building blocks as a kid, I don’t remember ever playing with them at school or at another kid’s house. Nor did I regard myself as especially deprived by this absence in my toy box. Thus I was an unlikely audience member for The Lego Movie, and thus I was surprised to find myself laughing out loud at a lot of this computer-animated kids' comedy-fantasy, and to walk out of it thinking that I seen something sort of brilliant, even slightly thought-provoking.

In the generic Lego city of Bricksburg, rank-and-file construction worker Emmet, voiced by Chris Pratt, finds himself the object of a prophecy—he’s told he’s “The Special,” the “Master Builder” who can save the (Lego) universe from schemes of the tyrannical President Business (Will Ferrell). The trouble is that Emmet is an enthusiastic conformist who only wants to follow the instructions and fit in.

This leads to a fast-moving and highly complex, but as far as I could tell seamlessly-thought-out, adventure involving everybody from a wizard (Morgan Freeman) to a woman of action (Elizabeth Banks) to a “Unikitty” (unicorn/kitty hybrid) to licensed characters like Batman (Will Arnett, growling amusingly) Superman (Channing Tatum) and the Green Lantern (Jonah Hill) to a villainous Bad Cop with a kindly Good Cop on the other side of his swiveling head (both are voiced by Liam Neeson).

Much good comedy is derived from the limited range of motion possible for rigid Lego figures, and the dialogue is witty too. Yet the movie manages, without so much as a wisp of pretentiousness, to hint at some troubling allegorical resonances about conformity and creativity in human society. The whole thing, if you’ll excuse my saying so, snaps together nicely.