The Lego Batman Movie.

Review #1864: The Lego Batman Movie.

Cast: 

Will Arnett (Batman / Bruce Wayne), Michael Cera (Robin / Dick Grayson), Rosario Dawson (Batgirl / Barbara Gordon), Ralph Fiennes (Alfred Pennyworth), Zach Galifianakis (Joker), Jenny Slate (Harley Quinn), Jason Mantzoukas (Scarecrow), Conan O'Brien (The Riddler), Doug Benson (Bane), Billy Dee Williams (Two-Face), Zoë Kravitz (Catwoman), Kate Micucci (Clayface), Riki Lindhome (Poison Ivy), Eddie Izzard (Voldemort), Seth Green (King Kong), Jemaine Clement (Sauron), Ellie Kemper (Phyllis), Channing Tatum (Superman), Hector Elizondo (Jim Gordon), and Mariah Carey (Mayor McCaskill) Directed by Chris McKay.

Review: 

I'm sure you remember the Lego movies, if only because of how bright and colorful they were. This was the second Lego-themed movie released by Warner Bros through their animation department, with the first being The Lego Movie (2014). That movie featured Will Arnett in a supporting role as a Lego version of Batman. A sequel was evidently planned for this movie, but the acquisition of the film rights by Universal Pictures in 2020 scuttled those plans. Admittedly, the Arnett Batman was meant to be as amusing as possible with a gravelly voice and macho characterization, so a movie wasn't particularly out of the element, self-promotion for Lego or not. This was the feature debut of Chris McKay, who had had studied at Southern Illinois University and Columbia College Chicago for film. He worked a number of years for video and equipment rental companies before starting his own venture into making videos and small movies; he also worked on television programs such as Robot Chicken in animation and direction. McKay served as animation supervisor on the aforementioned 2014 Lego movie, and he also served as a co-editor. The movie was written by Seth Grahame-Smith, Chris McKenna, Erik Sommers, Jared Stern, and John Whittington.

Honestly, I kind of just forgot to consider the movie when it came out five years ago, a casualty of just being the odd man out when it comes to spending time and money at a movie theater. I'm not sure I missed too much when it comes to looking upon the saturation of Batman movies in the last ten, twenty, thirty, forty years (or so). It may be the lightest toned of the movies since the 1960s Batman, all things considered (complete with a handful of references, such as having the "POW!" graphic show up near the end). It's a Batman movie that you can show the kids with no doubts (at least ones who get antsy about PG-13 ratings), which means you have a 104-minute movie with a few silly jokes that plays its family angle (or more specifically, family message) to moderate effect. Arnett plays the gravelly loner to basically what you would expect in heightened ego-pull that inevitably gets to learn a lesson and yadda yadda he has the timing required to carry it through. He won't exactly be included in the discussion for the ideal Batman (no animated version gets their due, no matter how much I can argue for Kevin Conroy), but he sticks out in showing the ideal version of what a Batman can be: confident and vulnerable. Cera proves quite eager to serve as partner to Arnett in a few chuckles that would probably make Burt Ward smile, which actually works in the favor of the movie when it comes to the lack of Robins in film to begin with. Dawson does fine here, a calm presence among the oddballs that does what is needed without delay, which can apply to Fiennes and his precise pinpoints of a role played again and again (one that is hard to mess up anyway). Galifianakis makes a quality foe in the vein of campy folks from long ago, hamming it up in ways expected when chewing scenery and counteracting Arnett in an attempt at hero-villain chemistry that lends some deranged charm (maybe not quite Cesar Romero charm but close enough). The other villains aren't exactly given more than a line or two but seeing the handful of references to the colorful assortment of villains through the Batman years is worth a chuckle or a view (along with non-Batman properties, which is kinda funny to see in Lego spoof). It's a Batman movie that happens to feature Legos, as long as one doesn't see the seams of a joke wearing thin (i.e. making too many of those jokes or movies) or sticking in bland mud, you have a good case to entertain your audience, and I think the movie works well in that regard. With a not-too cloying message about togetherness that makes a bright and cheery success, The Lego Batman Movie does pretty well for itself as a real one-of-a-kind look into Batman that does exactly what it aspires to do.

Overall, I give it 8 out of 10 stars.

Everything Everywhere All at Once.

Review #1835: Everything Everywhere All at Once.

Cast: 

Michelle Yeoh (Evelyn Quan Wang), Stephanie Hsu (Joy Wang / Jobu Tupaki), Ke Huy Quan (Waymond Wang), James Hong (Gong Gong), Jamie Lee Curtis (Deirdre Beaubeirdra), Tallie Medel (Becky), Jenny Slate ("Big Nose"), Harry Shum Jr. (Chad), and Biff Wiff (Rick) Written and Directed by Dan Kwan and Daniel Scheinert.

Review: 

“We should be looking to a forward-looking multiverse, because right now this universe we’re in is on a very scary path. And the multiverse is actually a really beautiful, important metaphor for right now because we need to be looking at all the possibilities, not just the one that we think we’re in. And we definitely shouldn’t be looking backwards.”

You may or may not know the directing duo of "Daniels", comprised of two directors in Kwan and Scheinert, who met at Emerson College while studying film; they did a variety of stuff together, starting with two short films in Swingers (2009) and Puppets (2010), which can be found online. They did several other things together such as television episodes and music videos (such as for the song “Turn Down for What" by DJ Snake and Lil Jon) before they made their feature debut with Swiss Army Man (2016), which evidently involves a man and a farting corpse. Scheinert directed The Death of Dick Long (2019) solo, so this in effect makes this film Scheinert's third effort and second for Kwan. When they had shown Swiss Army Man to their parents and had numerous conversations about it, the reflections of the duo on their apparent need to make something so strange to go with the difficulty of their parents in understanding it that proved an inspiration. I had first heard of the film earlier last month, but it was only in the last week of April that I had the chance to see this film in my local theater (the result of a film that expanded from an initial limited release - go figure, expand a release and people like me might actually see it rather than flock to "streaming" like a defeated sheep), and it took little time to convince myself that this might be a useful curiosity to see.

As one imagines, sometimes you must sneak in sincerity under absurdity when it comes to a journey of finding balance and understanding within beautiful chaos. This is in a movie that involves hot-dog fingers and sentient rocks, for example. But describing things that happen to occur in a movie isn't exactly a succinct answer for a movie like this, one that threads itself carefully on the matter of choices, not so much just being a movie about multiple selves, since the "chosen one" to potentially save things is possibly just the one with the most failures, for example. It results in a movie that is a hodgepodge of genres fitting for its title - action, sci-fi adventure, thriller, coming of everything, black comedy...but it really can be construed as a movie of finding the middle ground between oblivion and meaning. Yes, it has a quick pace to action scenes at times, but it never loses sight of doing some philosophy to go along with things at the end. In the end, it results in a brilliantly messy movie that maneuvers its way through 139 minutes with a warm-hearted sense of self that may very well become a curiosity to watch again and again just to think about how far the rabbit hole can go. In other words: the key to everything in a movie about family strife happening everywhere all at once is communication, complete with a family triangle that is yearning to have things acknowledged by the other. In that sense, I applaud the movie for managing to not fall into the modern trap of trying to build itself so high only to fall on its own hype, or to put it in more blunt terms, not huffing its own supply and interrupting its own flow. As such, this seems just the right kind of movie ideal for Yeoh, one that requires an actress to put on many hats (as the expression goes) in being the key focus of an organic mold of melancholy and resolve that allows for both a flurry of action sequences alongside touching moments spent with either Hsu or Quan for family interest, whether that means trying to roll with the growing sense of genre anarchy or other things. You may remember Quan from his childhood roles in films such as Indiana Jones and the Temple of Doom (1984) and The Goonies (1985), but you might be surprised to hear that this is in fact his comeback feature, as he had actually stepped away from acting (due to a lack of opportunity for roles) for work behind the camera. It is evident fairly early that he has not lost a step here, since he proves quite endearing in keeping the balance of the film on the right level with kindness and charm in each of the three personalities he inhibits here (ranging from the husband wanting to sneak divorce papers for actual attention to the confident "Alpha" husband). Hsu provides the key center to the proceedings in terms of a family dilemma that essentially explodes into multitude family dilemma with suitable timing that taps well with Yeoh in expressing the doubts and fears that come within paths that could spring curiosity or nihilism (especially when one's trauma of disappointing a parent has sprung in two generations), and she balances well with the conflicts presented here for engaging drama that makes her a quality presence. The film is built on the main trio, but Curtis and Hong do partake in their own moments to share for interest that one would expect from veteran presences like them, whether that involves a dry auditor that draws a few amusing moments or an eccentric charmer, respectively. By the time the movie draws to its ending, it does so without becoming dripped in false notes, which works out when wanting to finish making a movie that uses the idea of a "multi-verse" as a metaphor that seems timeless and therefore right on target. Honestly, the rating for this film took a bit of time to think about, because it really is a fun time for anyone who wants to see something original in their movie experience that seems like a labor of love more than just a laborious experiment in filmmaking. It does so with a break-neck pace that rewards its viewers with a useful emotional journey that details the meaning of empathy in a weary world (or worlds, in this case) with the right cast to make a worthy adventure that may be one worth looking into again and again, a wonderfully messy mix of action and clarity. 

Overall, I give it 10 out of 10 stars.

Zootopia.

Review #782: Zootopia.

Cast
Ginnifer Goodwin (Officer Judy Hopps), Jason Bateman (Nick Wilde), Idris Elba (Chief Bogo), J.K. Simmons (Leodore Lionheart), Tommy Chong (Yax), Octavia Spencer (Mrs. Otterton), Jenny Slate (Dawn Bellwether), Shakira (Gazelle), Nate Torrence (Officer Benjamin Clawhauser), Bonnie Hunt (Bonnie Hopps), Don Lake (Stu Hopps), Alan Tudyk (Duke Weaselton), Mark Smith (Officer McHorn), Raymond S. Persi (Flash), and Maurice LaMarche (Mr. Big) Directed by Byron Howard, Rich Moore (#386 - Wreck it Ralph) and Jared Bush.

Review
Honestly, the movie exceeded my expectations. And it only makes sense that it comes from a movie ultimately all about how we perceive types of people...and the fact that it came at a time like this with regards to prejudice and stereotypes. It's not merely a buddy film, or a movie just with animals in a city, or even just a silly comedy, it's a clever movie on many levels that could appeal to anyone. Of course it helps the cast is enjoyable as well. Goodwin and Bateman have good chemistry together, being enjoyable to watch not just exchanging remarks, but actually in solving the case. The rest of the cast is also pretty enjoyable, making these characters (and animals) stand out. It's also a wonderfully animated movie, especially with shots of the city, but also the look of the animals. It's a movie that also doesn't hesitate to take risks with plot and characters, and it always kept me interested in what would go on next. The way the movie talks about prejudice and stereotyping is also well done, being neither over done nor underplayed, being utilized neatly. More importantly, this is a movie that works for both kids and adults, being a movie full of creativity and enjoyment that anyone can like.

Overall, I give it 9 out of 10 stars.