Review: The Super Mario Bros. Movie

The Super Mario Bros. Movie
Cert: PG / 92 mins / Dir. Aaron Horvath & Michael Jelenic / Trailer

It feels distinctly odd given the perennial popularity of the character that it's taken three decades for Nintendo to go anywhere near another Mario movie, and even moreso that it feels like this has only been accelerated by Sonic's cinematic success. But here we are.

And for the very most part, The Super Mario Bros. Movie works. This time. Steering clear of live-action, this world-establishing animated affair comes from Illumination studios, penned by Matthew Fogel and directed by Aaron Horvath & Michael Jelenic. This might give a tingling impression of overcrowding, but the storyline is - without wishing to damn with faint praise - refreshingly basic. Everything is set up clearly for viewers unfamiliar with the Mario-verse, but not hammered home to the point where veterans will be rolling their eyes.

HISTORY

Setpieces give transparent nods to various iterations of the game history, and while that canon includes far more than can be effectively covered in a 92 minute film, glaring omissions are being saved for the sequel*¹. For obvious reasons, an animated movie retelling established origins does a far better job of showcasing the actual game-mechanics (both as Easter eggs and direct features) than something broader like Dungeons & Dragons. This is one of the rare occasions where a film being like watching someone playing a game is still supremely enjoyable.

On a technical level Illumination have excelled themselves, although you get the impression that Nintendo insisted on this. The texturing, lighting, physics and heavily stylised character models all look gorgeous throughout (even if there are entire sections where the film intentionally feels like a Haribo-induced migraine). The voice-work is largely solid, yet it's notable that Illumination have once again gone for recognisable credits-friendly A-listers over actual dedicated voice actors. Luckily, their enthusiasm papers over the cracks.

THE DAY

While there's plenty in here for a young audience, the judiciously retro jukebox soundtrack lets slip the film's real target audience: 30-40 something parents with disposable income. Brian Tyler's score itself doesn't fare quite so well however, by turn generic and insipid. The orchestral arrangements themselves aren't particularly strong*², and a necessary insistence on including stings and riffs from the games makes this feel more like musical fan fiction. This is the Glowing Nostalgia Market of course, and if it can't be thoroughly wrung-out for a product like Super Mario then there's no point in anything.

By this point Illumination know their strengths and weaknesses, and The Super Mario Bros. Movie is - like its central characters - small but perfectly formed. The film doesn't leave the audience with much to ponder, but then it also demands nothing more than the admission fee and an enjoyment of slapstick. I spent far too much time throughout grinning like an idiot to award the film any less than the following...

*¹ Because of course there'll be a sequel, this is a globally established character property with a nailed-on fanbase. Although the sequel won't be quite as good because the film won't have the structure of the introductions, world-building or origins-story conventions to fall back on. cf. Sonic 2. ^{[ BACK ]}

*² And I say this as a fan of Tyler's work, because I know he can certainly achieve a big sound when it's needed. ^{[ BACK ]}

DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Review: The Lego Movie 2

The Lego Movie 2: The Second Part (2D / thematic spoilers)
Cert: U / 107 mins / Dir. Trisha Gum & Mike Mitchell / Trailer



Has it really been five years since the first Lego movie? I supposed it must have, since the script for The Lego Movie 2 plainly sets this follow-up half a decade later, and when I check my previous review it is indeed dated 2014. The passage of time can be cruel and baffling for those of us who've refused to grow up completely*¹…

So. In the intervening years, the Lego town of Bricksburg has slowly morphed into the wasteland of Apocalypseburg. While Emmet (Chris Pratt) continues to bimble along optimistically, his friend Lucy/Wyldstyle (Elizabeth Banks) has become a hardened, cynical warrior - still living in the town, but ready to fight whatever dangers life throws their way, in a bid to protect what little order is left. When an extra-terrestrial warrior, General Mayhem (Stephanie Beatriz), arrives one day announcing that Queen Watevra Wa'Nabi (Tiffany Haddish) of the Systar System intends to wed Batman (Will Arnett), the resulting refusal, kidnap and voyage across the galaxy will be an adventure to test Emmet to his limits. Luckily, he's got a new friend to stand by his side…

SMART

First things first, The Lego Movie 2 is fun. It very much relies on you having seen the first entry (although the "2" is in the title so there can be few complaints) and it's still prone to wholesome over-sentimentality. But the sequel is as inventive as its plastic namesake, consistently funny and deceptively smart. If you enjoyed The Lego Movie, you'll get a lot out of this. If you didn't, well…

Whereas the divide between 'collector' play and open-ended adventuring previously fell with Will Ferell's 'Dad' character and his son Finn (Jadon Sand), this second entry shifts that generationally (as hinted at the end of the first movie) featuring his younger sister Bianca (Brooklynn Prince), happy to mix-the-bricks while Finn moves up to advanced sets and more concentrated world-building. To properly facilitate this and illustrate that Lego™ can be enjoyed on a number of commitment-levels (because let's not forget that this is an unashamed two hour pay-to-view advert), the sprawling in-film, in-universe playscape now features pieces and characters from Duplo™ and Lego Friends™. Purists will squirm, and that's very much the point.

OUT

Ferrell takes a back seat for this adventure, still voicing President Business in the animated story and the 'in another room' voice of Dad in the live-action. But Maya Rudolph capably takes the wheel as the squabbling siblings' embattled mother, deadpanning her role perfectly (even if the film's U-certificate means Maya's character can't give a screen-accurate rendition of the outburst in which stepping on a Lego brick in bare feet actually results).

The live-action sections of the first movie were something of a third-act reveal, here they're dealt with head-on, interspersing the animated action throughout. The Lego characters don't (can't?) know the full extent of their real-world status as toys, but they're aware that their home has changed and there are larger, inexplicable forces at play. Rather than trying to iron out the differences between these two versions of reality, the script just carries on playing with them. By the end, the audience is no longer sure which events are the result of kids acting out a story and which are the in-universe characters themselves, continuing the narrative in their own time.

On a meta-level, The Lego Movie 2 feels like the natural - if knowingly post-modern - thematic successor to Toy Story. It's never as up-front as Pixar's flagship series and almost seems more believable (if that's the right word) as a result.

SHORTY

As per this film's predecessor (and continuing the theme cemented by Lego Batman between), there are no Marvel characters to be found here. This, despite the Marvel-half of Lego's Super Heroes line being a mainstay of their licensing model. Instead we get appearances by the Justice League in full comic effect, with Warner Bros going so far as to rope in Jason Momoa*² for light voicework.

Indeed, Marvel are written out of the proceedings early doors with one cheeky line of dialogue. But not content to leave that where it lies, shortly after we have our hero (voiced by Chris Pratt, remember), blasting off into space for an adventure aboard his new ship, and talking to his plant as a co-pilot. Well, quite.

CARTER

And the playfulness with the leading man's back-catalogue doesn't stop there. A fairly telegraphed but still eminently satisfying sub-plot sees his character introducing a rapid succession of character-cards, each boldly proclaiming skills in a CV of previous adventures. Most of these appear to be nods to the actor's work in other movies (most notably the velociraptors, of course).

It's a testament to the sold writing that there's plenty here for a young audience, their associated grown-ups and the happy-go-lucky film geeks who've rocked up anyway. The Lego Movie 2 is absolutely packed with Easter eggs and is all the better for it.

FRESH AT THE WEEKEND

We're living through a golden age of animation of course, and we should stop for a moment to fully appreciate the craft of the Lego movies. Whereas the multitude of the corporation's TV-based features feature expressive, 'bendy' character models with working knees and elbows, the cinematic strand has used elements far closer to the relatively rigid toys themselves (with some artistic license).

Along with photorealistic plastic texturing, their blocky structure and appropriately restricted movement is a faultless CGI simulation of traditional stop-animation, and I don't think that gets enough credit. The animators have deliberately placed this obstacle in their own path, making them work harder to achieve the same fluid level of visual storytelling, while also achieving an end result which looks closer to the actual store-bought Lego toys (did I mention that this beautiful film is also a two hour advert?)*³.

But let's not dig too deeply into the toy box. Irrespective of your chronological-age, if you like Lego™, you'll get a lot out of The Lego Movie 2. If you don't, well…

Well, The Lego Movie.



It is.



It is.



It certainly earns a place near the top of everyone's list.



It's possible I suppose, although you'd have to be a hardened cynic to really get nothing out of this.



Not that I heard.



Level 1: Well, the film was written by Phil Lord and Chris Miller, formerly of the Solo parish, but since they left that production under something of a cloud, I suppose we'll have to go with this movie starring that uncredited Stormtrooper from The Force Awakens.





*¹ Anyway, I navigate my life by the release of Star Wars movies (as those of you who've met me will attest), so all 2014 means to me is "before The Force Awakens". Although I suppose I could meet them half-way and call it "before The Force Awakens Lego". ^{[ BACK ]}

*² Interestingly (or predictably, depending on how you look at it), the powers-that-be have opted for the new bearded, shirtless version of Aquaman, rather than the more traditional model they're still happy to use elsewhere. No judgement in that, just an observation. ^{[ BACK ]}

*³ Although like some of the Transformers movies, it's an advert which doesn't hold its own audience in absolute, unvarnished contempt. ^{[ BACK ]}



DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Review: Hotel Artemis

Hotel Artemis
Cert: 15 / 94 mins / Dir. Drew Pearce / Trailer



After honing his quill on the likes of Iron Man 3 and MI: Rogue Nation, Drew Pearce's first feature length writing and directorial gig, Hotel Artemis, shows all the signs of someone destined for cinematic magnificence. Just not quite yet.

Set in 2028 riot-torn Los Angeles, this tale of an exclusive private hospital for criminals certainly has a strong hook, and the precision-casting of Jodie Foster, Sterling K. Brown, Sofia Boutella, Charlie Day, Dave Bautista, Zach Quinto and Sir Jefferidge Goldblum only serve to raise the stakes further. But that cast also raises the expectation, which is where the movie falters a little.

The players are all on top form (Jodie Foster especially, although this should surprise no-one), and the wardrobe, set and prop design are outstanding. Near-future tech papers over slight cracks in the story, offset by a driving score from Cliff Martinez and a retro 70s diegetic soundtrack.

But the bottom line is that the actual story itself is weak, because the central characters are chronically underdeveloped, because the film's about half an hour shorter than it really should be. Elsewhere, the script is littered with clunky, needless exposition that attempts world-building (and sequel-baiting) before it's even finished the walls around the characters, and the violence (of which there is a substantial amount) feels nerfed down to levels of... well, a Mission Impossible movie, frankly.

Despite this, Hotel Artemis is still great fun and very promising, but there's little to get your teeth into…

John Wick, Free Fire, Reservoir Dogs and even a little bit of Murder On The Orient Express.



It is.



When the price drops, it'll be a buy-er.



Everyone should feel very proud of what they've made, here.



Nope.



Nope.



Level 2: Sterling K. Brown is in this, and he was in that Black Panther along with Lupita 'Kanata' Nyong'o, Forest 'Gerrera' Whitaker and Andy 'Snoke' Serkis.







DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Review: Pacific Rim - Uprising

Pacific Rim: Uprising (3D)
Cert: 12A / 111 mins / Dir. Steven S. DeKnight / Trailer



Now, I'm not saying that Pacific Rim: Uprising is derivative of vast swathes of pop culture, but it opens with John Boyega living in a post-war wasteland, scavenging derelict hulks for parts which he can trade for food, while fighting off other wasters trying to do the same. Or to put it more simply, Finn is Rey now. And not even the cool kickass Rey, but the Rey in a vaguely unambitious spinoff comic.

So after a botched attempt at retrieving a power cell (or something) from the shell of a destroyed Jaeger robot-suit, we move to Finn Jake having a bit of a rumble in a mini-Jaeger courtesy of Cailee Spaeny's Amara, then they're both picked up by the robot police and escorted to military school for some Ender's-Game-style 'no, we have to train the kids to do it' antics, some Iron-Man-2-style 'automated defence technology is clearly a terrible idea' capers, and some Lethal-Weapon-style reluctant buddy-cop shenanigans with Scott Eastwood, the appearance of whom makes the audience start pining for the emoting ability of a 500 foot tall armoured war machine.

Pacific Rim: Uprising is, make no bones about it, A Summer Movie™. And not a particularly good one. The fact that Universal have shoved the film out in March suggests much about their faith in its ability to compete in the blockbuster-marketplace. While I didn't find the script as cringe-inducing as the first installment's, the whole thing is far more boring; devoid of the corny personality which at least had a thing for massive robots last time*¹.

Charlie Day and Burn Gorman return as the comic relief and closest things the screenplay has to a macguffin, their roles interacting with everyone else's to the point where they could be assembled using out-takes from 2013. Imagine taking five years and coming up with this, though. It's like a Transformers film, if the only thing which changes is the audience's proximity to a migraine.

A two-hour effects-reel, when The Giant Robots are fighting The Giant Monsters, it's basically fine. Although for a film about giant robots fighting giant monsters, the audience spends a lot of time not watching giant robots fighting giant monsters.

Pacific Rim: Uprising is the perfect cinematic equivalent of popcorn; expensive, messy, and while it'd probably save you from starvation in a pinch - you wouldn't want to try and live off it…

Transformers films, Independence Day films, Ender's Game.
Yeah.



If you're a fan of This Sort Of Thing, I guess it is.



No really, watch it in the cinema if anything.
This will lose all of its presence in your living room.



No.



Quite possibly.



I have no idea; anything in the film which isn't a quiet, expository conversation is basically white noise.



Level 1: FN-2187 is in this.





*¹ And I see there's still no feasible explanation of why a battle-suit shaped like one human requires two humans to control it. The whole left-brain/right-brain thing doesn't really wash when both pilots are doing largely the same things in unison, and when each of those humans manages to get around outside the suit using only one brain themselves. The mind-meld itself is an interesting concept, but imagine pairing up with Scott Eastwood for a mission. It'd be like being trapped in a flatpack wardrobe... ^{[ BACK ]}


DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.

Review: Vacation

Vacation
Cert: 15 / 99 mins / Dir. John Francis Daley / Trailer



Well, there's a turn-up. The trailer for Warner Bros' retooling of the National Lampoons' Vacation franchise has been played to death in recent weeks, and it did less to boost my confidence with each re-watch. That the movie has had a right kicking from reviewers in the US didn't help either, so I braced myself for the worst as I sat down for a preview-showing. I mean, I've seen worse in the last month, right?

Well actually, yes. Sure, the minimalistically rebranded Vacation isn't quite as sweet-natured or nostalgic as it'd like to think it is, the gross-out moments aren't as subversive or anarchic as they probably felt in the script-meetings, and the references and in-jokes to the earlier films aren't as clever or subtle as the screenwriters had hoped. But the film more than passed the laugh-test. The chemistry of Ed Helms, Christina Applegate, Skyler Grisondo and Steele Stebbins papers over the cracks and makes for a consistently amusing series of interlinked sketches (which is no more or less than what these movies are intended to be, to be fair).

I laughed, the audience laughed, the film went down very well. Tellingly, most of the gags from the trailer fell a little flat, probably as a result of repeated exposure in recent weeks, so the film's going to be funniest the first time you see it (although the plastic-bag joke worked just as well, probably because it's longer and even more sadistic in the film). Vacation doesn't get too misty-eyed for the past, littered with more than its fair share of bad language and questionable subject matter, but by the same token, it never forgets that it's a film about the Griswold family. And just when you think Chris Hemsworth has overplayed his comedic hand a little, Chevy Chase is wheeled out for a few scenes in the final act and threatens to derail the entire thing. He's not awful (and obviously deserves a place at the table) but his performance is, to put it politely, batshit.

Far better than it has any real right to be, Vacation mixes the farce of The Griswolds with the faeces of The Hangover and just about gets away with it. This time.

Against my wiser instincts, I rather enjoyed it.
Don't tell anyone.

I'm not sure I'd go that far…



This is a DVD with some friends and a few drinks. It won't be a bad movie to have on the shelf, but don't buy it until the price drops.



Again, not sure I'd go that far, although Skyler Gisondo and Steele Stebbins steal the show as the squabbling Griswold kids.



Be an entertaining, disposable Summer comedy? Yes.
Reinvigorate the Vacation franchise for another run of movies? …I'm not sure I'd go that far.



Not at all.



There isn't.



The film features Chris 'Thor' Hemsworth who was in the Avengers movies, of course, with Sam 'Windu' Jackson.







DISCLAIMERS:
• ^^^ That's dry, British humour, and most likely sarcasm or facetiousness.
• Yen's blog contains harsh language and even harsher notions of propriety. Reader discretion is advised.
• This is a personal blog. The views and opinions expressed here represent my own thoughts (at the time of writing) and not those of the people, institutions or organisations that I may or may not be related with unless stated explicitly.