22 Jump Street (2014)

I’m quite sure this film doesn’t need my review, and those who want to see it will go and see it regardless. I myself certainly wasn’t expecting it to be as fun or as silly as the original 2012 reboot of creaky 80s high school detective TV series 21 Jump Street, but I wasn’t expecting it to push through silliness to something quite so generic. Of course, having fun with genre signifiers is part of what it’s playing at, and there’s even a speech by the chief (an enjoyably Ron Swanson-ish turn by Nick Offerman) which could read as a meeting between the filmmakers and the studio about the need to do exactly the same thing in the sequel — a premise which sees this film move to a university for its otherwise identical drug-ring-busting plot, but also allows for the most fun bit of the film which is the end credits sequence imagining further sequels. I feel as audiences we’ve got used to the trope of ‘a film that looks like it was fun to make’ as code for ‘but not fun to watch’ and if it’s not ever entirely tedious (it has a few laughs), it certainly does skirt close to being that. The university setting allows for lots of jokes at the expense of its stars (Jonah Hill and Channing Tatum) and their age, which is a canny way not to alienate an adolescent audience, I suppose, yet it feels a bit condescending at times, though at least the scenes of deadpan student Mercedes (Jillian Bell) poking fun at Hill’s age are among the film’s funniest, and Mercedes gets to come into her own in the denouement. However, in riffing on audience expectations from this type of film, the filmmakers also spend a lot of time trying to push the cop buddy-film homosociality towards something affecting, but it never comes off as anything more than sophomoric, and the sheen of engaged awareness doesn’t elevate the bromance beyond pseudo-homophobic locker-room crassness. Which is all by way of saying, I didn’t really like it as much as I perhaps expected to, given the fine pedigree of its directors and cast at doing this kind of thing, though at the very least it is certainly aware of exactly what it is doing. And it was probably a lot of fun to make.

22 Jump Street film posterCREDITS
Directors Phil Lord and Christopher Miller; Writers Michael Bacall, Oren Uziel and Rodney Rothman (based on the TV series 21 Jump Street by Patrick Hansburgh and Stephen J. Cannell); Cinematographer Barry Peterson; Starring Channing Tatum, Jonah Hill, Ice Cube, Peter Stormare, Jillian Bell; Length 112 minutes.
Seen at Cineworld Wood Green, London, Sunday 22 June 2014.

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The Lego Movie (2014)

I’m going to do a thing I don’t usually do, and I’m going to draw your attention to my rating. I’ve given this film three-and-a-half stars, because that’s the highest I’ll go for a film that is essentially a feature-length product placement. There are few movies I’ve ever seen in which cross-promotional brand awareness is more hard-wired — not even Cast Away (2000). It’s in the title, it’s in every frame, and it’s even in the overall theme: Lego™ can free your childhood imagination, and allow you to do whatever you can imagine (though I’m not sure this configurability extends to every product in the Lego back catalogue). What makes it better than just a mere advert, though, is the script, which is witty and, crucially, very funny.

It also helps that as the voice of the central character, the construction worker Emmet, Chris Pratt is very good. He hits exactly the right tone of someone who is happy to conform to rules, playing up to the same simple-minded everyman he portrays in, for example, TV’s Parks and Recreation, but with just enough self-awareness to see his limitations, and respond humorously to challenges to it. Elizabeth Banks as Wyldstyle is the woman who makes him realise that there are more ways of dealing with the world, while Morgan Freeman is of course an elder (Vitruvius) who dispenses sage advice.

The setup starts all very broadly, with the deranged Lord Business (Will Ferrell) stealing a powerful weapon from the clutches of Vitruvius, which allows him, now re-branded as President, to rule over a conformist world that sticks to his single-minded vision. But things quickly move into more interesting comic variations and imaginative reconfigurations of this world. We get Liam Neeson’s Janus-like Bad Cop/Good Cop, Will Arnett’s snarky Batman, and a perky rainbow character verging on the psychotic (almost predictably voiced by Alison Brie, again channelling a TV role, Annie from Community).

It’s all very broadly pitched, but the humour is knowing and self-referential enough that I also found myself wondering if kids would get it. We’re very much in the same nostalgic 80s ballpark as Wreck-It Ralph (2012), another slyly knowing children’s animation. What’s impressive is that all this plays out while the animation remains solidly based on the original plastic creations. Expressiveness comes from the animated mouths and the talents of the voice cast. Everything else is resolutely stop-motion in effect, if not creation (I’m fairly certain it’s CGI). And then there’s a late introduction of a surprise (but not, in the end, surprising) twist that really brings home the pathos — and, for those of us so afflicted, a few tears.

In the end, it’s a warm and impressive film with an unforced religious allegory, a bit of shmaltz and, importantly, enough strong and inventive gags crammed into every scene, that you almost forgive it its baldly capitalist pedigree.

The Lego Movie film posterCREDITS
Directors/Writers Phil Lord and Chris Miller; Cinematographer Pablo Plaisted; Starring Chris Pratt, Will Ferrell, Elizabeth Banks, Will Arnett, Liam Neeson, Morgan Freeman; Length 100 minutes.
Seen at Cineworld Shaftesbury Avenue, London, Sunday 9 February 2014.