3/1/15: Everybody is Somebody

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2014 Academy Awards, 21 Jump Street, 22 Jump Street, 87th Annual Academy Awards, adventure, Alison Brie, animated films, Batman, Channing Tatum, Charlie Day, Chris Pratt, Christopher Miller, cinema, Cloudy With a Chance of Meatballs, co-directors, co-writers, colorful films, destiny, directing team, duty, Elizabeth Banks, family films, father-son relationships, film reviews, films, friendships, good vs evil, heroes, individuality, Jonah Hill, Lego Movie, Liam Neeson, Mark Mothersbaugh, Morgan Freeman, Movies, multiple writers, Nick Offerman, Oscar nominee, Oscars, personal expression, Phil Lord, positive films, positivity, romance, Shaquille O'Neal, stylish films, superheroes, The Lego Movie, Will Arnett, Will Ferrell, Will Forte

In an increasingly cynical, self-absorbed world, genuine displays of emotion often stick out like sore thumbs. When everyone is shuffling around with their hands in their pockets, rolling their eyes and being openly dismissive, the person who’s jumping around, laughing, shouting and having a great old time seems quaint, at best, and kind of idiotic, at worst. That, unfortunately, is one of the myriad curses of our modern age: our healthy sense of irony has mutated into an outright dislike of anything that seems too sincere…after all, what’s cool about that?

Being cynical is not a problem for Phil Lord and Christopher Miller’s The Lego Movie (2014), however: I wager that you’d be hard-pressed to find a film that wears its heart on its sleeve more proudly than this one. In fact, their film is so upbeat, jubilant, frenetic and good-natured that it seems ready-made for nothing less than complete and total derision…even kids movies are world-weary these days, after all. The crucial thing here, however, is that The Lego Movie is actually the furthest thing possible from a mindless, slobbering puppy: in reality, the film is actually quite clever, combining a dizzying, scattershot approach to pop culture references (albeit in the furthest way possible from the dated treacle of the Shrek films) with a tenderly insightful look into father-son relationships. The themes are always big and on the nose but it’s also pretty impossible to keep from getting swept up in the spectacle: in every way possible, The Lego Movie is the epitome of a big-budget, multiplex kids’ movie with heart, spirit and something to say.

Our plucky hero, Emmett (Chris Pratt), is a thoroughly average, cheerful, workaday drone who always follows the rules, has little imagination, no friends and no chance for any sort of wider recognition. His thoroughly average life comes to an end, however, after he meets the rebellious Wyldstyle (Elizabeth Banks) and comes into possession of the fabled Piece of Resistance. As luck would have it, Emmett appears to be the prophesied “Special,” the Master Builder who can save all of the Lego realms from the dictatorial homogenization efforts of President Business (Will Ferrell), who sidelines as the evil, outrageously outfitted Lord Business. Business hates individuality and wants to use the dreaded “Kragle” to freeze the denizens of Legoland in place.

In the best epic tradition, it’s up to Emmett and Wyldstyle, along with a motley group of new friends, to save the day. Along for the adventure of a lifetime are Wyldstyle’s arrogant boyfriend, Batman (Will Arnett); Metal Beard (Nick Offerman), the hybrid-pirate; Uni-Kitty (Alison Brie), the perpetually chipper horned cat; Vetruvius (Morgan Freeman), the wise wizard who foretold Emmett’s appearance; and Benny (Charlie Day), the displaced astronaut who just wants to make an old-fashioned spaceship. The group will need to work together if they want to succeed, however, since President Business’ right-hand-man, Bad Cop/Good Cop (Liam Neeson) is hot on their trail. As the dreaded TAKOS Tuesday looms, will Emmett restore individuality to the various kingdoms of Legoland or will the Kragle seal their fates forever?

Even at nearly two hours long, The Lego Movie packs an awful lot of action, plot and chaos into its stylish framework, making the film as dizzying as it is relentlessly upbeat and fun. There are so many small details crammed into every frame, so many running jokes, gentle satire and pop culture references, that the film sometimes feels like being dropped into a life-size Pachinko machine. There’s a method to the madness, however, a natural flow that allows one to get caught up in the eye-popping visual candy and just go with it. Unlike many modern animated films, which often seem so frenetic as to be unintelligible for anyone older than a pre-teen, The Lego Movie never seems completely nonsensical, even as it constantly smashes the wall between audience and action, animation and live action.

One of the film’s neatest coups is the way in which it mashes together so many disparate pop culture figures, superheroes and assorted film franchises. Not only do we get a full complement of iconic superheroes (besides Batman, the film also features Green Lantern, Wonder Woman, Superman, and, if I recall correctly, Spiderman) but we also get Star Wars characters (Han and Lando show up for a funny bit), real-life figures (Shakespeare and Honest Abe are here, along with Shaquille O’Neal, for some inexplicable reason) and at least a couple dozen that managed to sail right by me. If there’s one deficit to The Lego Movie’s “everything and the kitchen sink” approach, it’s that it’s pretty impossible to catch everything the first time through: it’s like the scene in I Love Lucy where she tries (and fails) to combat the conveyor belt. By the time we’ve recognized and laughed at one reference, we’ve missed three more. On the flip side, however, I’d rather have an embarrassment of riches than a veritable wasteland…there, literally, is something for everyone here.

Along with being upbeat, fun and goofy, The Lego Movie also comes with a raft of good, positive messages and morals behind it: the importance of imagination; building people up rather than tearing them down; fostering teamwork; self-sacrifice; giving your children enough autonomy for them to succeed (or fail) on their own terms; the need to think outside of the box in order to solve problems…they’re all here and none of the messages (including the father-son bit) are so forced, maudlin or obvious as to be cloying. As previously mentioned, Miller and Lord’s film is the furthest thing from “big, dumb and loud” that there is (although it is pretty noisy, to be honest).

As far as voice talent goes, The Lego Movie is like an endlessly replenishing Horn of Plenty: we get the now ubiquitous Chris Pratt (giving Bradley Cooper some competition in the box office recognition stakes), a great performance from Banks as the self-assured Wyldstyle, terrific comedic support from Offerman, Day and Brie (the part where Uni-Kitty goes ballistic is pure gold) and incredibly fun performances from Ferrell and Neeson. Neeson, in particular, seems to be having a blast playing off his recent tough-guy image and he really lights up the screen whenever he’s barreling through the action. And then, of course, there’s Arnett as (arguably) the most self-centered, egomaniacal Batmen in the history of the character. Arnett is always fun but he’s especially good here, managing to bring subtle nuance to a character that didn’t really need it: thanks to his performance, the Emmett/Wyldstyle/Batman love-triangle has just enough pathos to feel real.

At the time, much was made of The Lego Movie’s general snubbing at this year’s Academy Awards (the film was only nominated in the Best Original Song category, which it won). After finally seeing the film, I must freely admit to being just as baffled by its exclusion: while I’ve yet to see the actual nominees, I find it rather hard to believe that How to Train Your Dragon 2 (2014) was a better “mainstream, multiplex” choice for nomination than The Lego Movie. The integration of actual Legos with computer animation, alone, makes the film eminently more interesting and impressive than many animated films I’ve seen recently and it’s intelligent enough to appeal to adults, as well as children. To be honest, it’s a real head-scratcher that ranks along the exclusion of Enemy (2014) and Nightcrawler (2014), at least as far as I’m concerned.

As someone who dislikes noisy, crass, chaotic, self-referential modern animated films, I was fully prepared to hate The Lego Movie, even though I really enjoyed the duo’s Cloudy With a Chance of Meatballs (2009). Instead, I was kind of blown away by it: the film is consistently impressive and, when it soars, it really hits some heady heights. Add in a great score from Devo mastermind Mark Mothersbaugh and there’s really precious little to complain about here. Whether you’re a parent, a kid or just someone who loved Legos growing up, I’m willing to wager that you’ll find something to love here.

One of the most beautiful aspects of childhood is the sincere joy that kids have over everything that they come across: kids don’t “like” stuff, they just like it, no qualifiers or snark necessary. The Lego Movie understands how important it is to dream, believe and shoot for the stars, how the boundless depths of our imaginations once took us to unbelievable places…and how they can still take us there, if we let them. In many ways, The Lego Movie is about the pure, undiluted joy of being a child: you’d have to be a real Lord Business to make fun of that.

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11/16/14 (Part One): Let Your Voice Be Heard

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Alexandra Holden, bad fathers, celebrity cameos, comedy, Demetri Martin, directorial debut, Don Lafontaine, ensemble cast, Eva Longoria, father-daughter relationships, feminism, Fred Melamed, Geena Davis, In a World..., independent films, indie comedies, infidelity, Jason O'Mara, Ken Marino, Lake Bell, Michaela Watkins, Nick Offerman, Rob Corddry, sexism, Stephanie Allynne, Talulah Riley, Tig Notaro, voice actors, voice coach, voice-over artists, writer-director-actor

Despite this being the tail-end of 2014, there are a lot of things that our species has yet to accomplish: we can send a message from one end of the world to the other in seconds, yet we still have masses of people who starve to death every day…we can send a probe into deep space, yet can’t figure out the basic need for racial equality…anyone, anywhere, now has the opportunity to have their personal thoughts, artwork, opinions and beliefs be seen by a world-wide audience, yet we manage to marginalize women nearly to the point of invisibility. Never before have we been so attuned to the small details, yet so completely ignorant of the big picture…so close to the finish line and yet so very, very far away.

In a World…(2013), the extraordinary feature-length directorial debut of indie writer/actor extraordinaire Lake Bell, probably won’t create any massive kind of sea-change in “the battle of the sexes,” which probably says more about our inherent resistance to common sense than anything else. It’s too bad, really, because In a World…is just the kind of film that could start a bigger dialogue, if given a wide enough audience. A hilarious, sharply written, character-driven comedy that makes its points in the most reasonable way possible and comes to the same conclusion that all of us should have long ago, In a World… politely explains just how fundamentally stupid sexism is and the unfortunate ways in which both men and women keep falling into the same old traps. The solution, as simple as it is, might just shock the world: why not try treating everyone like equals and see what happens?

Carol (Lake Bell) is a voice coach whose main job seems to be helping celebrities like Eva Longoria “not sound like a retarded pirate” for various projects. Voice-work comes naturally to Carol: her father, Sam (Fred Melamed), an impossibly egotistical, massively obnoxious voice-over “superstar,” is about to receive a lifetime achievement award after long being regarded as one of the luminaries in this particular entertainment niche, second only to the legendary Don Lafontaine. The spectre of Lafontaine, who made famous the titular “In a world…” film trailer line so famous, hangs over the cast of characters like a lead weight: he’s the pinnacle that they all aspire to, the ultimate source of envy for jerks like Sam and his protegé, the equally obnoxious Gustav (Ken Merino).

With a new epic film series on the horizon (The Amazon Games, obviously modeled after The Hunger Games), the series’ producers decide that they want an equally epic teaser trailer: for the first time in ages, they decide to use the iconic “In a world…” line and they’re going to need the perfect person to pull it off. Turns out that Carol thinks she’s that person but there’s a hitch: women are completely marginalized as far as cinematic voice-over work goes. Not only don’t any of Carol’s peers, such as Gustav, take her seriously but her own father even disparages her attempts to break into the industry, telling her to stick to her “lowly” voice coaching work. Frustrated, Carol decides to flip off the naysayers and auditions for the trailer…and handily scores the gig! Gustav is furious, unable to handle the news that he lost a plum gig to a woman (even though he doesn’t know it was Carol who “scooped” him) but Sam takes it one step further: he demands to be considered for the gig, even though his daughter has been all-but handed the job already. Since he still pulls weight in the industry, Sam forces the producers to audition the applicants, including Carol and Gustav.

The drama involving the voice-over work is contrasted with a subplot involving Carol’s sister, Dani (Michaela Watkins), her neebishy husband, Moe (Rob Corddry) and the hunky director of The Amazon Games, Terry (Jason O’Mara): they all get thrown into the soup after Carol enlists Dani’s help with some voice-over research (Terry has the dreamiest Irish brogue, dontcha know?) and Dani and Terry end up spending an undue amount of time together. Throw in a romantic triangle involving Carol, Gustav and Carol’s endlessly faithful agent, Louis (Demitri Martin), and you have a recipe for some practically Shakespearian machinations involving love, betrayal, acceptance and the importance of standing up for yourself, regardless of what others think.

As an actor, Lake Bell is known for quirky character performances in indie films like A Good Old Fashioned Orgy (2011) and Black Rock (2012), as well as roles in bigger-budget, mainstream fare like What Happens in Vegas (2008), It’s Complicated (2009) and No Strings Attached (2011). There’s an odd quality to Bell’s performances that marks her as a singularly unique performer: there always seems to be something slightly off about her, something distinctly “out of synch” with whatever she’s appearing in, similar to any of Andy Kaufmann’s various “legit” acting performances. Bell was also part of Rob Corddry’s exceptional Children’s Hospital series, which saw her sharing the small screen with In a World…co-stars Corddry, Ken Marino and Nick Offerman, making her directorial debut a bit of a Children’s Hospital reunion, in a way.

In a World…works on a number of levels: it’s an above-average comedy, thanks to a pretty unbeatable ensemble cast composed almost entirely of comedians (the cast-list reads like a virtual “who’s who” of modern comics); it’s a nicely realized examination of a particularly difficult father-daughter relationship, complete with the requisite “young stepmother” to provide equal comedy grist; it’s a fascinating look into the world of voice-over acting, a subset of the film industry that many casual audiences probably have as little experience with as possible; and last, but certainly not least, it’s a subtle and cutting look at the modern face of sexism and the glass ceilings that still manage to keep women down, despite any number of advances made since the “bad old days.” In a World…manages to be all these things at once, maintaining a delicate balancing act that marks Bell as a formidable talent: much more experienced filmmakers would have dropped at least half of these balls…Bell juggles them with an ease that’s almost supernatural.

One of the most impressive aspects of Lake’s debut is how it’s able to engage on so many levels without ever losing sight of the inherent absurdity of these situations. Carol is exasperated and frustrated by the sexism of her chosen profession but she never gives up or gives in to anger: she plows through, resolutely, determined to prove her worth in the most old-fashioned way possible…by kicking complete ass at the job. For a modern society that prizes innovators and “boot-strap-warriors,” Carol is a bit of a patron saint: she sees something that she wants, ignores the naysayers, busts her ass and goes for it. The whole sexist system is still in place, mind you: the film doesn’t engage in needless feel-good aphorisms any more than it traffics in “revenge fantasies,” ala Horrible Bosses (2011) and its ilk. Rather, Carol’s stubborn refusal to give in and her steadfast desire to be heard makes her something of an Arctic icebreaker, charges ahead despite the endless resistance and pushback she experiences.

Most impressively, In a World…marks Bell’s full-length writing debut: the script is so tight, full of such great dialogue and scenarios that it’s hard to believe she doesn’t have more full-lengths under her belt. I previously called In a World…”Shakespearian” and it’s a comparison I’ll stand by: there’s something about the intricate, brilliant interactions between the various characters that instantly reminiscent of the Bard. By the end, Bell has managed to tie the various threads together in some truly satisfying ways, right up to the fist-raising conclusion that shows how Carol keeps kicking in the door to the boys’ club, finding ways to help women fight the system and find their own voices.

In a World…is that most amazing of constructions, in the end, a “message” film that succeeds as pure entertainment without ever losing sight of the big picture. Bell has lots of things to say here and never hedges her bets but it’s also plainly clear that she wants us to have a good time: there’s no reason that we can’t dance at the revolution, as long as we remember why we’re there. When a film makes you laugh out loud and think, at the same time, well…that’s something pretty special, no two ways about it. Here’s to hoping that In a World…marks the beginning of a brilliant, long directorial career for Bell: the world still has a helluva long way to go but the darkness looks like it’s getting brighter all the time.

1/1/14: A New Year Dawns

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Alexis Diaz de Villegas, Australia, bats, Bob Byington, George Romero, horror films, House of the Devil, indie comedies, Michel Gondry, Movies, Nick Offerman, road trips, Roost, Seth Rogan, Somebody Up There Likes Me, The Guilt Trip, The Sapphires, Ti West, Tom Noonan, Vietnam War, zombies

Welcome to the first actual installment of The VHS Graveyard. This post will concern all of the films watched yesterday, beginning with the pair that I started at midnight. Future posts should keep us on a better schedule but the holidays are always a bit tricky. Without further ado, then…

To be honest, I have a rather love/hate relationship with Ti West. On the one hand, I think that House of the Devil is just about one of the best “modern” horror films out there, particularly that incredible jump scare involving the best friend in the car. On the other hand, I’m having a hard time relating the Ti West of that film to anything else in his oeuvre. The follow-up that wasn’t Cabin Fever 2 was the (for me, at least) ultimately disappointing The Innkeepers. This was followed by a decent segment for the V/H/S anthology film, as well as a wretchedly stupid, lazy short for The ABCs of Horror. All signs would seem to indicate that West came out of the gate strong only to suffer a pretty severe slump. After watching his debut, The Roost, however, I’m more inclined to believe that House of the Devil was the rare bright spot in his catalog.

By all intents and purposes, The Roost is a bad film. Bad for many, many reasons but mostly because it’s peculiarly tone-death and unsure of itself. On one hand, it’s about vampire bats attacking a small town. It’s also about zombies, since those attacked return as the living dead. But not as vampires, mind you: as traditional zombies. This, in itself, is such a strange wrinkle that I can only be led to believe West figured vampires were too cliche in this situation yet he still needed another threat: enter the zombies.

Part of this “everything to everyone” approach also involves the film’s framing device. The Roost runs for a total of 80 minutes but that’s a little deceiving. You see, West conceived this film as part of an imaginary Saturday TV fright film showing, complete with stock horror host (played by poor Tom Noonan, so good as the evil patriarch in House of the Devil, so wasted as Zacherle-lite). This horror show footage takes up at least 15 minutes of the film’s running time, cutting the actual feature to about an hour after the credits. Even odder, the actual film peters out with a completely abrupt ending, only to return to the wraparound segment for the true finale. This, in effect, makes it seem as if West couldn’t really be bothered to even finish the actual story. If he couldn’t be bothered, perhaps you shouldn’t be, either.

This, ladies and gentleman, is why I still bother to watch new films. Despite the less than inspired title (cuz it’s a Latin-American take on Shaun of the Dead! Get it?), I’ve been eagerly anticipating this film for some time. It was well reviewed and, from many indications, was something of a revitalization for the stagnant zombie genre. Did it come through? And how.

Juan of the Dead is the absolute best kind of zombie film because it’s only nominally a zombie film. George Romero, the godfather of gut-munchers, knew this better than anyone else. Remove the zombies from Dawn of the Dead and you have a vicious satire about consumerism and good ol’ American greed. Remove the shopping mall and you have a rousing B-movie. Similarly, Juan of the Dead is really about the state of modern Cuba, the fates and fortunes of those living there and the tendencies of the Cuban government to blame any problems on outside forces: these aren’t zombies, according to the state-run TV broadcasts…they are dissidents and they are most certainly sent by Uncle Sam. Removing the zombies from the film would remove some of the fun but none of the core message.

There’s so much to love about this film that I fear to say too much, lest I spoil any of the film’s myriad happy surprises. Tonally, this is a masterpiece of horror-comedy, balancing both with deft skill, although the film definitely comes down more on the side of satire than heart-pounding fear. The acting is superb, especially from Alexis Diaz de Villegas as Juan. He manages to make a character that could seem selfish and slightly misanthropic on paper into a completely lovable, three-dimensional character. I was so invested in Juan’s struggle – and he assumed the mantle of hero so capably – that I can’t help but mentally include him in the role call of great genre heroes like Ash, Tucker and Dale and, yes, the ubiquitous Shaun. The action is well-staged, the locations are gorgeous, the gore is plentiful and (mostly) practical and there are several very astute observations about the cliches of zombie films. Top this off with a truly great ending and you have a minor classic. Essential viewing, especially for anyone with zombies on the brain.

Chalk this up as a case of truth being stranger than fiction. During the Vietnam War, four young Aboriginal women (two sisters and two cousins) from a small Outback town in Australia decide to try their luck as USO entertainers for the troops overseas. They hook up with a scraggly white piano player and, ditching their love for country & western ballads, become the soul powerhouse known as The Sapphires. Danger, unexpected love, racism, classism: it’s all here.

This was definitely one of the most feel-good films I’ve seen in quite some time. Anchored by five very convincing performances, this was a masterclass in how to touch the heartstrings without being too manipulative. In many ways, this is a very well-made version of The Committments, with an Australian focus. The juxtaposition between Australia and Vietnam was quite interesting and the period details seemed pretty authentic.

Ultimately, there’s nothing really surprising or groundbreaking about The Sapphires: if you have seen one rags-to-riches story like this, you’ve probably seen a hundred. The joy, however, comes in the many small details: the constant in-fighting between the ladies; the burgeoning love affair between the gruff piano player and the hard-as-nails eldest sister; the development of the group from George Jones-loving cowboys into sparkle-dress-bedecked soul sisters. The greatest compliment that I can pay the film is that it honestly earns all of its emotional beats, including a truly lovely ending. Uplifting and inspirational, this is one to add to the roll-call of great “band movies.”

Nowadays, you can’t swing an ironic Motley Crue t-shirt without hitting at least a bakers’-dozen indie dramadies. When they’re done right, they can provide some real moments of insight along with the smirking cynicism. Of many recent offerings, I definitely feel that Somebody Up There Likes Me has the best chance of being remembered years down the road.

Featuring 35 years in the life of two “best friends” (the relationship between Nick Offerman’s Sal and Keith Poulson’s Max is too complicated to not require the quotation marks), the film takes a droll, rather unemotional look at love, marriage, friendship, fidelity and mortality. The film jumps forward in five year increments, showing us how Sal and Max move around each others orbits for the better part of a lifetime.

Despite my growing frustration with the kind of indie film that I’ve mentioned above, I find myself constantly chasing them, always hoping to fall into the next Wes Anderson or Michel Gondry. While writer/director Bob Byington isn’t in that lofty company yet, he’s definitely got some tricks up his sleeves. In particular, the dialogue is very sharp and rather quote-worthy. I also like how every character in the film approaches issues like infidelity, death and romance with as little emotion as possible. It’s almost as if Byington decided to make his principals into actual quip-spewing robots, turning generational angst into something almost poetic. Extra points for the fact that the only character who seems to physically age over the course of 35 years is Sal: Nick Offerman is always the realest person in the room, anyway.

Remember the key tenet of the VHS Graveyard: any movie at any time? Well, I live by those words and so, a day that began with Ti West and zombies ended with Babs and that guy from Freaks and Geeks. Just part of my universe, folks.

In reality, this was actually a cute, fun and inoffensive little road picture. Big-screen multiplex fare like this really isn’t my bag and I often find myself getting burnt (I positively hated Due Date and I really like Robert Downey, Jr.) but there was something about this that said “Take a chance on me” (or maybe it sang it…not sure).

I expected Streisand to be completely over-bearing as the stereotypical clingy mom but there were some surprising beats and depth to her character. She made my skin crawl a few times (there were a few moments that reminded me of Liza Minnelli’s Lucille Austero) but I really found myself pulling for her. I expected Seth Rogan to be manic and smarmy but he actually downplayed his role pretty well and was incredibly likable. More importantly, Streisand and Rogan worked well together, coming across as an actual mother and son. The script was fairly nimble and the resolution was well-earned. All in all, not bad, and a pretty good way to end the day.