LEGO MOVIE 2

Voices of:  Chris Pratt     Elizabeth Banks     Tiffany Haddish     Will Arnett 

Alison Brie     Channing Tatum     Maya Rudolph     Will Ferrell

     Following upon The Lego Movie (2014), this sequel continues the adventures of the “Master Builders” who started out as resistance fighters against Lord Business and his army of Micro Managers. Emmet (Pratt) and Wyldstyle (Banks) were heroic in the previous story and ended up as best friends in a happy town, Bricksburg, where everyone is special.  It should be noted that Wyldstyle (Lucy as she is now called), is more pessimistic and skeptical, in contrast to Emmet’s sunny outlook. Each would like for the other to change just a bit. 

     Their town now is a darker, chaotic--maybe cooler--Apocalypseburg that is changed significantly from the sunnier Bricksburg. Within the backdrop of an exciting confrontation between their city and some invaders coming in from outer space (who are wrecking everything faster than it can be rebuilt in a city of Master Builders), Emmet and Lucy become significantly changed for the better.  Emmet is both helped and hindered by making the acquaintance of Rex Dangervest (also Pratt, signifying polar opposite traits in the same person), who is brash and confident and easily counteracts Emmet’s diffidence. When Lucy gets kidnapped, Emmet enlists the help of Rex Dangervest in getting her back.  Their struggles increase insight for Emmet and Lucy; however, Rex’s issues are more complex.

     This sequel continues the psychological journeys of the characters that were begun in the first rendition.  And in this sense, the movie seems addressed more to the adult audience than to children.  For example, themes of and questions around romance, marriage, self-actualization, and détente between warring factions make the film more interesting for adults.  The production design and animation are so engaging (almost to the point of overpowering the characters and the story), children are likely to enjoy that aspect of the film; I just don’t know how much of the import of the story actually gets through to them. I suspect little of it.  The beginning scenes are so laden with special effects, it’s often hard to decipher what is going on, especially when the chorus sings, with lyrics that are hard to decipher.

     At any rate, there are exciting scenes showing colorful vignettes of the invaders led by Queen Wa’Nabi (Haddish) and the heroic efforts of the Apocalypseburg trio (Emmet, Rex, and Lucy) to protect themselves.  The invaders are clever in “brainwashing” others to join their ranks, including Batman (Arnett) who is seduced into wedding the queen, despite his fiercely avowed bat-chlerhood.   [The manipulative clichéd means by which Queen Wa’Nabi seduces him are some of the scenes I hope do pass over the heads of children.]  But there is a quick twist toward the end of the story that seems to discount the charge of brainwashing.

     Tiffany Haddish is clearly the star in this production, with her character’s chameleon-like presentation and witty dialog.  Haddish is perfectly cast, managing to be both outrageous and lovable.  Pratt and Banks also capture their roles in a way that makes them as believable as real people. Numerous cameos of the likes of Richard Ayoade, Alison Brie, Nick Offerman, Maya Rudolph, Will Ferrell, Channing Tatum, Jonah Hill, Ralphe Fiennes, Will Forte, Will Arnett, and still others popping up throughout, do their part in increasing the entertainment value of Lego Movie 2.

The continuing adventures and personal development of Lego characters Emmet and Lucy/Wyldstyle.

Grade:  B                                    By Donna R. Copeland

THE POST

Meryl Streep     Tom Hanks     Matthew Rhys     Sarah Paulson     Bob Odenkirk    

Tracy Letts     Bradley Whitford     Bruce Greenwood     Alison Brie

     Steven Spielberg’s production of The Post, based on true events and smartly written by Elizabeth Hannah and Josh Singer (Spotlight, The Fifth Estate), is as exciting and tension filled as a good mystery story.  (I was glad I knew how everything turned out, so I could relax a bit.)  It’s about the time Daniel Ellsberg, a military analyst employed by the Rand Corporation, released classified information to the New York Times, and then to the Washington Post, about the complicity of four U.S. Presidents (Truman, Eisenhower, Kennedy, Nixon) and their administrations in covering up significant U.S. operations during the Viet Nam War. 

    The Post refers to the Washington Post newspaper, which obtained classified documents after the New York Times broke the story.  The dilemma Publisher Katherine Graham (Streep) and Editor Ben Bradlee (Hanks) face after the government has already initiated legal action against the Times, is whether to publish information that came to them from the same source, Daniel Ellsberg (Rhys).  These are papers reporting on a study requested by the Secretary of Defense, Robert McNamara (Greenwood) about the progress of the Viet Nam War from 1945-1967, and document the U.S. Government’s complicity in covert operations, rigging elections, and lying to the Geneva Convention, and then covering it up, essentially lying to the American people about the Viet Nam War.  Most egregious of all, is its sending young servicemen into battle for a war they knew couldn’t be won.

     There are numerous aspects of the story that the filmmakers highlight, which are relevant today.  First and foremost is the issue of the need for government secrecy versus freedom of speech.  At the time, President Nixon was so incensed about the actions of the New York Times, he sought legal action against it.  Some of the more clever scenes in The Post are views through the Oval Office windows of Nixon talking on the phone and making his threats. 

     Another theme I appreciated is a picture of how women were regarded during that era, and another of the film’s highlights is how Katherine Graham is treated by men, even though she is the wealthy publisher of a major newspaper.  Her editor somewhat grudgingly gives her respect, as does Defense Secretary Robert McNamara who is a personal friend, but others clearly think she is out of her element in making major decisions, when—in fact and in retrospect—she is highly qualified.  When push comes to shove, she and Ben Bradlee are shown to be brave and heroic at considerable personal risk.

     Steven Spielberg directs a masterful work based on a true story, but with the intrigue and excitement of a fictional drama.  The cast is outstanding, highlighted by Meryl Streep as Katherine Graham and Tom Hanks as Ben Bradlee.  Their conversations are as enlightening as they are interesting.  Bob Odenkirk, Tracy Letts, Bruce Greenwood, and Matthew Rhys providing superb acting support.  Sarah Paulson as McNamara’s (Greenwood) wife shines in her argument to her husband about the greater bravery shown by Graham at a time when he is feeling besieged.  It was rewarding later to see that he listened to her and at a later time gave Graham credit.

Get informed about a critical event in U.S. history while enjoying an exciting drama.

Grade:  A                                                By Donna R. Copeland

THE DISASTER ARTIST

James Franco     Seth Rogen     Dave Franco     Josh Hutcherson     Alison Brie     Zac Efron

      What a quintessential James Franco production!  Is there anyone else who could take a cult film like The Room, duplicate parts of it, and then make it his own?  Beyond that, it rings so many bells as you watch it, beginning with its star, Tommy Wiseau (J. Franco), an oddball character who makes you smile and turn away at the same time.  A clown-like figure, he lives in his own world, and has enough resources that he can pull everyone around him into his reality, and is genuinely hurt when they start backing off.  It’s a bit sad, too, that everyone stays with him so long as they’re getting a paycheck.  But he retains one loyal friend.

     The story is about the making of a film called “The Room”, which is written, directed, produced, and acted in by Tommy.  (Keep in mind, The Room is an actual film that tanked, but later became a cult classic.)  This story is based on a memoir written by one of the film’s protagonists, Greg Sistero.  So The Disaster Artist is a bit about Gregg (D. Franco), who is an aspiring actor who lives with his mother.  He manages to strike up a conversation with a classmate he admires in his acting class, hoping to get his advice.  Tommy surprises him by instantly taking a liking to him and inviting him to room together in Los Angeles where he has an apartment.  Neither has much luck in scoring roles, so Tommy decides he’ll write his own script, casting the two of them as characters.

     The rest of the story is about the freewheeling production of the movie, with Tommy being the most unpredictable factor.  It remains a mystery as to how he has the money to finance the film, or even where he is from or how old he is.  In addition to James and his brother Dave, the cast includes Seth Rogen, Josh Hutcherson, Alison Brie, Zac Efron, Kristen Bell, Megan Mulally, and others, with cameos by Brian Cranston, Adam Scott, and Judd Apatow. 

     Despite James Franco’s talented acting here, this is something of a “nothing” movie that will leave many viewers cold; although, granted, many find it a hoot and have thoroughly enjoyed it.  I’m in the former camp; although I enjoyed the performances, it seems pretty senseless to me.

The remake of a cult movie that is intended to be funny, but isn’t very.

Grade:  C+                                    By Donna R. Copeland

GET A JOB

Miles Teller     Anna Kendrick     Bryan Cranston     Alison Brie     Marcia Gay Harden

          If you value quality filmmaking, stay as far away from this film, Get a Job, as you can.  It’s about a heart-breaking event that far too many people are experiencing today—losing their job—and this movie wants to make a comedy of that; moreover people’s getting jobs in the end has no logical bearing on their attempts to get a job or their performance once landing one.  It’s a shame that it wastes an excellent cast on a silly story. 

        A group of guys live in a rented house smoking bongs, playing video games, reading porn, drinking beer, and in between applying for jobs.  Will (Teller) is one of these and in a serious relationship with Jillian (Kendrick) who has just secured a job she is excited about.  She is not featured much in the film, except that when she comes to live in the house she is stereotypically cleaning it up and eventually gets drawn into the boys’ activities. 

        Will is set up to be one of the wonder boys in the action, and although it doesn’t appear he does much of substance, he gets hired by a boss who was impressed with one of his videos about a pimp, and he is subsequently promoted by a controlling, flirtatious, bossy woman (again, a stereotype) (Harden).  He has doubled his salary in no time.

        To pull in the older crowd, we learn about Will’s father (Cranston), who loses his senior position after 30 years at a company, and Will begins to offer his videotaping services to assist him in his search for something new. 

      Get a Job doesn’t really have a message—at least I couldn’t detect one.  There is a harangue about school children getting awards for doing nothing, a glance at someone developing an app that allows someone to stalk someone else, and a bit about one of Will’s roommates making it big on Wall Street and being told not to worry about losing 50 million dollars—just to get back to work and earn it back.  The final outcome seems to be that you can make it big if you work in the porn business.

Get a Job needs to be canned.

Grade:  F                         By Donna R. Copeland

SLEEPING WITH OTHER PEOPLE

Jason Sudeikis   Alison Brie   Adam Brody   Adam Scott   Amanda Peet

          In Sleeping with other People, Lainey (Brie) and Jake (Sudeikis) get together once, and then don’t see each other again for years.  When they do meet up again accidently, they’ve each been through difficult relationships, and after confiding in one another, they agree that they’ll simply be friends to avoid the stickiness of a sexual relationship.  A fine friendship does develop; they have fun times together, but date other people.  They talk freely, and support one another in whatever difficulties they’re having with others.  They have to work through small piques of jealousy from time to time, and their friends often remark about how they seem like a couple—which they always emphatically deny—but they do genuinely seem to care for one another.

      Eventually, Lainey decides that she will return to medical school after being a kindergarten teacher, and she moves to Michigan.  Oddly (to me) they part without plans for staying in touch, and Jake gets involved with Paula (Peet) who is his boss, is divorced, and has a child.  The film shows vividly how unconscious concerns and preoccupations can simmer underneath a person outside of awareness.  Jake and Lainey will meet again, but only after a considerable amount of turmoil.

          The film is billed as a comedy, but even though there are some funny lines (“You’re not an addict; you’re a whore!”), much of the story is about the ups and downs in relationships and the difficulty in staying faithful to a mate, more serious business.  Sudeikis and Brie are entertaining in their roles, they have good chemistry together, and Brie gets to show off her dancing skills and Sudeikis his gift of gab.  A host of other stars surround them (e.g., Jason Mantzoukas, Adam Scott, Andrea Savage), showing that the film is well cast.

          Director Leslye Headland (writer as well) keeps a good pace and clear direction, and the music of Andrew Feltenstein and John Nau matches the changing moods of the story, often making a humorous reference with it.  There are some rough spots (as in the beginning when Lainey is throwing a senseless tantrum in the school dormitory), a lot of casual sex and rather public hook-ups, which lends some unevenness in the flow.  The cruel way a character is dumped toward the end of the film is another episode that does not fit well in a comedy.  I think the film would be better if it lightened up and offered more wit and less turbulence.

A rom-com with more upheaval than comedy.

Grade:  C-                                    By Donna R. Copeland