THE LEGO MOVIE 2: THE SECOND PART

THE LEGO MOVIE 2 is a delightful, visually inventive, wonderfully funny movie that kept me thoroughly entertained. I have no idea whether kids would find it as funny as so much of the humour was knowing and seemed aimed at adults with a familiarity with the latest MAD MAX film, for example.

The film picks up where the original movie left off. The conceit is the same.  We have a framing device of a kid playing with lego. The adventures he acts out become represented in animated form in the lego world.  As the first movie ends, the kid sister shows up with her giant duplo bricks - a threat to his intricately built lego world. This sets up the conflict in the second movie. Our band of lego heroes led by awesome nice guy Emmett (Chris Pratt) have to band together to find the duplo invaders led by "TheQueenofWhateverIWannaBe" (Tiffany Haddish). Along the way we get a nice time travel story and of course a touching resolution about playing together.

I laughed till I cried watching the film. The Mad Max spoof - the arrogant angst of Lego Batman - the visual hilarity of Duplo world - another superb scene-stealing cameo from Richard Ayoade as a lego ice cream cone - annoyingly catchy pop songs that are knowingly telling you how annoyingly catchy they are - there's nothing not to like here.  But as I said - it just all feels so adult. I would be interested to hear how kids responded to it. 

THE LEGO MOVIE 2: THE SECOND PART has a running time of 107 minutes and is rated PG. The film went on global release last weekend. 

BEATRIZ AT DINNER

Directer Miguel Arteta and writer Mike White follow their collaboration on THE GOOD GIRL with this hamfisted painfully earnest take on the class divide in contemporary America.  Salma Hayek plays Beatriz, a massage therapist and earnest do-gooder who treats both suffering cancer patients and rich capitalist bastards.  As the film opens, there's a chance it might be a comedy.  Beatriz is quirky!  She keeps goats in her house and has a habit of saying socially inappropriate things and invading people's space.  But that isn't what this film is.  When Beatriz' car breaks down at a client's (Connie Britton - NASHVILLE) house in Newport Beach, that client invites her to stay for dinner - a small celebration of future profits on a real estate development.  The rich guests (Chloe Sevigny, Jay Duplass) proceed to ignore Beatriz, then assume she's the help, then ignore her disquiet at their development.  But when the richest and most evil of the men (John Lithgow) reveals he also hunts rhinos, Beatriz really loses it.

The problem I have with this film is that it isn't a biting political satire or a nuanced portrait of class or race relations. Rather it's a pantomime filled with caricatures.  The bad guys here are truly bad.  The airhead dippy wives are just that.  And Beatriz is ultimately a Christlike martyr of zero flaws and faults. This makes for dull, dumb, simplistic storytelling.  The audience deserves far more.

AT DINNER has a running time of 83 minutes and is rated R. The movie played Sundance 2017 and opens in the USA on June 9th.

SCORE: A FILM MUSIC DOCUMENTARY

One of the most wonderful experiences of attending the San Francisco film festival was watching this fascinating film about film music in one of the theatres at the Dolby Laboratories - experiencing a visual and audio quality rarely seen in a commercial cinema. To be sure, this documentary didn't really warrant a screen that would've done a big budget action movie justice, but the sound quality was much desired.  Over 90 minutes, the film-makers give us an amazing insight into the history and current state of composing for film, including a quite dazzling access to composers including the pre-eminent Hans Zimmer.

The impression one gets is that movie composition has changed from writing and conducting a traditional orchestral score to something more akin to a polymath enterprise - creative originality; running a vast team of people; and enough IT knowledge to produce the music.  It's the middle part of that that really surprised me - these composers are essentially front-men for a team that includes people who will supplement their creative work, produce scores, and sometimes conduct so that they can be in the mixing booth ensuring the overall mix of the work produced.  And now they are supplemented by a new breed of conventional rock star turned composer bringing a new feel to the scores they create.

HOTEL TRANSYLVANIA 2

HOTEL TRANSYLVANIA is the delightful sequel to the charming 2012 kids animated movie.  It brings together most of the creative and voice team of the original for a story that feels organic in its progression.  In the first film, Dracula (Adam Sandler) struggled to accept that his beloved daughter Mavis (Selena Gomez) had fallen in love with a human interloper (Andy Samberg) in his monster hotel.  In the sequel, the kids have gotten married and Drac is a grandpa to cute little Dennis. Problem is, Dennis doesn't appear to be a monster at all.  And so, a concerned Mavis wants to take him to live in the human world, much to Drac and his son-in-law's horror.

For much of the movie we see Drac take the kid on a road-trip to discover his inner monster, with laughably negligible impact. Turns out the monsters aren't really that monstrous anymore, partly through old age, and just plain old assimilation.  Pretty soon, Drac comes to believe that Mavis is right.  But at a last hurrah birthday party for Dennis, Drac's father Vlad (a brilliant cameo by Mel Brooks) comes to town. This infamously hard-ball monster is aghast that his son-in-law is human, just as the human grandparents are happy the kid is "normal".  

There's lots of social commentary in here about the difficulty of being accepted as a mixed-race or non-straight kid.  The difference between tolerating something and truly accepting it.  The difficulty of being understood by both sides and the pressure to please parents and grandparents.  And that's to be applauded. But aside from all that, the movie really works at the level of great animation, and superb imaginative comedy. The scenes of vampire bat flight are beautifully animated, and there are some lovely throw-away visual jokes (such as Drac giving the Invisible Man a purple nurple). Finally, what I love in this movie, as in the original, is its heart.  This is just a straightforwardly joyously warm-hearted movie that makes you want to hug your family and embrace glorious diversity.  Kudos to all involved.

HOTEL TRANSYLVANIA 2 has a running time of 89 minutes and is rated PG.  The movie is on global release.

PITCH PEFECT 2

You can listen to a podcast review of this film here.

I wasn't super excited by the original PITCH PERFECT movie but that film at least had novelty and some great songs.  This sequel lacks novelty and great songs, and I didn't laugh once.  Even Elizbeath Banks & John Michael Higgins' snarky competition commentators didn't make me laugh.

The irony is that the very story of the film is of a successful group that has lost its mojo, not sure of what it wants to be, misfiring and alienating its audience.  After an early mishap, the Bella's acapella group find themselves banned from defending their national championship title unless they can do the unthinkable and win the world championships.  However, the group is intimidated by a crypto-fascist German group called Das Sound Machine and inwardly fretting over what will happen to them when they graduate.  The mash-up queen, Becca (Anna Kendrick) is secretly interning at a production studio where the boss (Keegan-Michael Key) tells her she has to make something original.  And young Emily (Hailee Steinfeld) just wants to write songs, breaking the cardinal rule of Acapella that you only do covers.

Random DVD Round-Up - THE LEGO MOVIE

If Marxist theories Slavoj Zizek made an animated kids movie, THE LEGO MOVIE would be it!  It'a audacious in its deep satirical criticism of modern consumer culture - creating an alarming but entertaining picture of a dystopia where people are subjected to an almost Orwellian fascist mind-control - fooled into buying over price coffee, too busy watching mindless TV shows to notice that big corporations rig the elections.  The ultimate irony is that this movie was produced by yet another corporate behemoth, and its gratingly catchy theme song "Everything's awesome" itself became a non-ironic hit, raking in ever more phat cash for President Business at Warner Brothers.

HOTEL TRANSYLVANIA

HOTEL TRANSYLVANIA is, like PARANORMAN, an absolutely lovely, beautifully drawn, heart-warming children's animation film that pays homage to horror film history.  Adam Sandler plays Count Dracula, so scarred my the peasant mob killing his beloved wife, that he turns his castle into a hotel for ghouls and monsters to protect them from the nasty humans in the outside world. His extreme protection irks his teenage daughter Mavis (Selena Gomez) and when she meets a stray backpacker called Jonathan (Andy Samberg) the Count is torn between protecting his daughter from the outside world, and protecting the backpacker from the monsters at the hotel.  So ensues some wonderful comedy, with the Count loosening up under Jonathan's influence, and Mavis tentatively entering her first romance.  Ultimately, the movie plays a request for tolerance but it moves us because of its loving rendering of a father-daughter relationship.  As an out and out daddy's girl myself, I fell in love with it.  Kudos to director Genndy Tartakovsky (DEXTER'S LABORATORY) for his gonzo animation style, raucous sense of humour and genuine heart.  This is simply an adorable film.

HOTEL TRANSYLVANIA played Toronto 2012 and is on release in Australia, Israel, New Zealand, Canada, Mexico, Norway, the Philippines, the USA, Japan, Argentina, Hungary, Brazil, Colombia, Chile, Ireland and the UK. It opens on October 18th in the Czech Republic, Russia, Serbia, Slovenia, Bulgaria, Estonia, Lithuania and Sweden; on October 25th in Germany, Kuwait, Ukraine and Spain; on November 2nd in Iceland; on November 8th in Denmark, Italy and Poland; on November 19th in Vietnam; on November 23rd in Finland, Indonesia, Macedonia and Turkey; on December 5th in Thailand, Greece, Singapore and India; on December 19th in Belgium, the Netherlands and Portugal; on  January 7th in Hong Kong and Taiwan and on February 13th in France. 

HOTEL TRANSYLVANIA has a running time of 91 minutes and is rated PG in the USA.

21 JUMP STREET

21 JUMP STREET is a bunch of fun whether or not you're familiar with the original 1980s TV show that it affectionately spoofs.  Judd Apatow regular Jonah Hill slims down to play Schmidt, a former high-school geek turned cop, who's sent back to school under-cover to undercover a drug dealer.  Schmidt teams up with former high-school jock, Jenko, played by the not unattractive Channing Tatum showing impressive comedy timing.  A lot of the comedy comes from the classic "fish out of water" trope, with Jenko now forced to hang out with the science geeks and Schmidty becoming the popular guy in a post-modern high school full of enviro-geeks.  The true joy for this capitalist bastard reviewer is that it's the hippie do-gooders that are really the skanky drug-dealers.  And Dave Franco (James' kid brother) does a great job playing the smug little shit who's dealing dope. There's also probably the best movie cameo since ZOMBIELAND. 

Goofy, buddy comedies like these, when they work well, can seem effortless.  But there's a lot of skill in scripting a story that pokes fun at its source material without ever descending into snide pastiche; that knowingly winks at the viewer but still has heart.  Moreover, there's something wonderful about seeing a comedy double-act really hit it off on screen. Tatum and Hill just work really well together, and I can't wait for the sequel. 

21 JUMP STREET is on release in the US, UK, Australia, Bulgaria, Canada, Estonia, Ireland, Lithuania, Romania, Israel, Russia and New Zealand. It opens in Sweden on April 20th; in Chile and India on April 26th; in Argentina, Hong Kong, Hungary and Brazil on May 4th; in Germany, Singapore and Spain on May 10th; in Slovenia and Colombia on May 18th; in Norway on May 15th; in Belgium, France and the Netherlands on June 20th and in Portugal on June 28th.

CATFISH - "The REAL Facebook movie"

Nev Schulman meets Megan Faccio on the internet. She writes him songs, he sends her compliments. They seem to "connect". Pretty soon the texting turns to sexting. Nev starts to talk about what it would mean to make a relationship work with someone who lives out of state. The infatuation goes beyond Megan. Nev is friends with her family and her friends. He thinks they're all pretty awesome. But somehow, while he speaks to them on the phone, they never get to meet. And then the scales fall away. It looks like those songs she wrote were taken from Youtube. When he drives out to Megan's house, it's unoccupied. And when he shows out at Megan's mum Angela's house, it's clear that the poor woman has been running a ring of fake IDs on Facebook and conducting a fake cyber-love affair with Nev out of sheer frustration and loneliness. Far from being a cute twentysomething, Angela is a middle-aged mother with two severely handicapped children and a life of limited possibilities. Her fantasies are understandable, but Nev is a real person with real feelings who was led on. Or was he? After all, he is a documentary film-maker. He chose to share the most intimate details of his relationship with the camera even when he apparently thought it was real. And when he realised it was fake, he carried on filming. He and his friends created a sting, and sure, they were gentle with Angela, but not so gentle as to let her off the hook completely, because then there would be no film.

So, this film raises questions about identity and personal boundaries beyond those that the film-makers think they are posing. Most simply it poses the question about how we can trust personae that we meet on line. I think that's not particularly original. But it does show how quickly a person can cross the line from selective editing of a Facebook profile (not posting those pictures where we don't look our best) to wholesale fabrication. Second, CATFISH poses a question about how unboundaried we have all become. From the girl who posted so many pictures on line that Angela could easily steal her identity, to Nev, who thought nothing about letting a girl into his emotions that he'd never met, to the film-makers, Nev and Angela, who presumably feel comfortable exposing all this material for the sake of making a film. In other words, what I'm saying here is that while I think Angela has problems, she's just a case in extremis of what all of us who use Facebook and Twitter and Blog experience - that erosion of personal boundaries and personal privacy that we trade for a wider group of virtual friends.

CATFISH is, then, a provocative documentary and for all its questionable morality - entrapping a woman who clearly needs help - and pimping out one's own emotional life for the sake of a movie - let alone the (I think scurrilous charges) that the entire thing (as opposed to maybe certain scenes) were set up - it remains an important piece of work. It's not a great film in terms of its shooting style or structure - there were definitely passages where I got bored waiting for the inevitable unmasking - but it prompted so much discussion that it has become, by virtue of its content, a must-see film.

CATFISH played Sundance and London 2010 and opened in the US and Canada in September. It is currently on release in the UK and the Netherlands.

London Film Festival Day 5 - NICK AND NORAH'S INFINITE PLAYLIST

NICK AND NORAH'S INFINITE PLAYLIST is a charming romantic comedy about two music geeks who fall for each other over a night running around New York City looking for a secret gig. Yes, they both have toxic ex-es, but finally they stop being cute and get down to it so that we can all go home, our cockles warmed and what-not. It's not unentertaining, although the laughs are thinner than they should be, way too dependent on gross-out toilet humour, and the romance is incredibly forced. Such are the pitfalls of the genre.

NICK AND NORAH'S INFINITE PLAYLIST is also a movie that, upon consideration, I think I despise. Everything about it is contrived to suck up whatever droplets of cool remain in the hipster movement and spit them out in bland commercial form for the mass market. I knew it was over for the indie rock movement when THE O.C. started merchandising mix CDs of Modest Mouse. This movie tries to ride the crest of the wave that combined the runaway success of JUNO and VAMPIRE WEEKEND but crashes on the roadblock of its own hypocrisy.

The movie opens with animated credits that are so desperate to be this year's JUNO it's painful to watch. And then we dive into the meet cute. Michael Cera plays the typical Michael Cera character - Nick - a nice guy geek who's being treated woefully by his domineering girlfriend (the disturbingly baby-faced Alexis Dziena). He makes her ueber-cool mix-CDs. She tosses them. Her friend Norah (Kat Dennings) picks them up. When Norah finally meets Nick his gay best friends put her in a wonderbra and wish her luck. We then get an hour of nonsense (but no actual discussion of cool bands, natch!) Clearly these characters are designed to be together and their ex'es are so godawful that there's no dramatic tension at all. When they do get together we get the most absurd sex scene in recent cinema. It takes place in a recording studio where Nick has the temerity to accuse Norah's dad of being a "hippie turned yuppie peddling...to the mass market."

I couldn't have said it better myself. Especially when you consider that the guy who directed this film started out making genuinely gritty indie movies like RAISING VICTOR VARGAS.

NICK AND NORAH'S INFINITE PLAYLIST played Toronto and London 20078. It is currently on release in the US and opens in Iceland on December 5th. It opens on January 22nd in Australia and Germany; it opens in the UK on January 30th; in opens on February 13th in Italy; on February 20th in Finland and Sweden; on February 27th in Denmark; on March 4th in Belgium, Egypt, Argentina and the Netherlands and on March 11th in France.

THE BIG WHITE - so bad, it went passed cult-status and back to bad

What did I do when I wasn't laughing at alleged black-comedy THE BIG WHITE? 1. I wondered how it could be that British director Mark Mylod could come up with such hysterical stuff for TV (Shameless, The Royle Family) but on the big screen had saddled us with cinematic stinkers such as ALI G IN DA HOUSE. 2. I applauded Robin Williams for trying to do something a bit left-field. 3. I wondered whether the Coen Brothers were going to sue script-writer Collin Friessen for biting their style so badly. Seriously, not only does he set this "comedy" in Fargo-like snow-drenched nowheres-ville, but he tries to replicate all those eccentric quirky characters. The casting director even managed to con Tim Blake Nelson and Holly Hunter into participating. 4. I wondered if Collin Friessen's directorial effort FARM SLUTS was available on DVD, and if so, whether or not it would be more entertaining that this shambolic enterprise. I actually looked up FARM SLUTS on the internet while I was waiting for England to win the Third Test match. The guidance warned that it contained "partial nudity, language and untimely random acts of perversion." I sadly have to report that FARM SLUTS was probably even less funny than THE BIG WHITE and certainly had no other entertainment-related merits. So, overall, the whole BIG WHITE experience was fairly disappointing.

THE BIG WHITE got an indicatively small release in the US at the fag-end of 2005 and is now on release in the UK. The Germans get the pox on April 20th 2006, and the Austrians on June 2nd 2006.