The LEGO Ninjago Movie (2017)

2018 #167
Charlie Bean, Paul Fisher & Bob Logan | 101 mins | Blu-ray (3D) | 2.40:1 | USA & Denmark / English | U / PG

The LEGO Ninjago Movie

After the somewhat surprising success of The LEGO Movie, both critically (96% on Rotten Tomatoes) and commercially ($469.2 million worldwide), Warner Bros and LEGO realised they were on to a good thing and so did what any movie studio does in such circumstances: plowed ahead not only with a sequel (out next February), but also spin-offs. The first one, The LEGO Batman Movie, continued the trend (90% Tomatometer; $312 million gross); the next one — this one — …didn’t. With a rotten 55% on the Tomatometer and a worldwide box office take of just $123.1 million (less than either previous film’s domestic gross alone), what went wrong? Did they flood the market with LEGO movies too quickly? Was Ninjago just not as attractive or familiar a brand as Batman or LEGO generally? Or is it just not a very good movie? Well, I’ll come to that.

The film sets its scene in Ninjago City, which is constantly terrorised by villain Garmadon (Justin Theroux) and his armies. Fortunately for the good folk of Ninjago, they have a team of mech-driving colour-coded super-ninjas to protect them. In real life, those ninjas are just high school kids, and not particular popular ones — especially Lloyd (Dave Franco), aka the Green Ninja, who everyone knows is Garmadon’s son. When Lloyd’s daddy issues lead him to slip up, the ninjas have to save the city — and, in the process, Lloyd and Garmadon have to sort out their differences.

The Garmadons

The LEGO Ninjago Movie is quite clear that the focus of its story is the relationship between Lloyd and Garmadon, but it’s perhaps a little too focused on that. There are a bunch of other characters thrown into the mix — Lloyd’s five teammates; their master, Wu (Jackie Chan); Lloyd’s mother (Olivia Munn) — but the film doesn’t afford the screen time to do any of them justice. In fact, the film probably would’ve been a lot better if it had cut back on the number of beats in the Lloyd/Garmadon story and devoted a bit more time to giving everyone a little subplot. If it kept busy doing that it might’ve picked up the pace a bit as well, because although Ninjago is more or less the same length as the two previous LEGO movies, it feels much longer.

Partly this is because it just doesn’t feel as inspired as the other movies — it lacks the spark of ingenuity that ignited their characters, humour, and stories. At times it feels entirely half-hearted. For example, Lloyd’s big mistake makes his teammates all hate him, but they immediately go on a journey with him anyway; Master Wu says the length of that journey will give them time to come back round to Lloyd, but the film never bothers to suggest that’s happening — as soon as they need to all get along again, they do. Clearly this was meant to have some emotional effect on Lloyd (even the handful of people who used to like him don’t anymore), but that’s never really given the emphasis to be felt either — so what was the point of them falling out with him in the first place?

Even in LEGO, Jackie Chan kicks ass

That said, it does muster suitable amusement in places, though not as regularly as the other two films. And if you’re a fan of Eastern genre movies — kung fu, giant monsters/mechs, samurai, etc — the whole shape and style of the film is a broad reference to that kind of cinema, which is fun for those in the know. Unfortunately, it comes up somewhat short in the action stakes — the mech sequences seem to be inspired by the Michael Bay school of throw tonnes of visual information at the screen and whizz through it at lightning speed, making some of it hard to distinguish, even with the separation benefits of 3D.

Despite all these negatives, I didn’t actively dislike The LEGO Ninjago Movie. It’s good in places, most of it ticking along at a level of passable entertainment — but it ticks along for too long, it’s not funny enough, and it can’t bring it all together in the way the other two films did. It suffers most of all from those comparisons, because it’s simply not a patch on the other two LEGO movies.

3 out of 5

The LEGO Ninjago Movie is available on Sky Cinema from today.

Advertisements

The Great Wall (2016)

2017 #158
Zhang Yimou | 103 mins | download (HD+3D) | 2.39:1 | USA, China, Hong Kong, Australia & Canada / English, Mandarin & Spanish | 12 / PG-13

The Great Wall

This movie was on a hiding to nothing from the moment people got wind of the fact it was a China-set action movie starring white American Matt Damon. Increased representation is all well and good, but you still need a big-name star in order to get funding for your movie if it’s a $150 million production aimed at a global audience, and the stars who can sell movies that big around the world are almost exclusively white. It’ll be a positive thing when that changes, but it’s the way it is right now. Should we write off entire movies just because they have to think about budget more than political correctness?

There are pros and cons within the film itself. Damon plays a mercenary who stumbles upon China’s national secret: that the Great Wall was built to keep out monstrous beasts, and when they attack it has to be defended. An outsider character works as a good way into this story, though of course there are “white saviour” issues with it being someone who looks like Matt Damon. If you want to object to the movie entirely for those reasons, that’s your prerogative. There were other criticisms of it as a piece of entertainment, but I hold even less stock in those, because I thought it was highly entertaining.

The best bit is the first 25 minutes. This opening salvo is phenomenal: a huge, well-made battle sequence with tonnes of cool moments. It’s so epic, it feels like the climax. That leaves you wondering where the film possibly has left to go for the next hour-and-change — can it possibly have something up its sleeve to top that? Unsurprisingly, it heads away from huge battles and into skirmish territory. Fortunately, inventive ideas keep these sequences from feeling like lesser fodder than the epic opening act. In the end, it never does top the opener, but hey-ho.

Colourful diversity

As for the plot, well, it is what it is. There are some obvious holes and contrivances (most obviously: why do they hold back some weapons and tactics to only use in later battles?), but nothing I found too bothering for the type of entertainment the film seeks to provide. Character work is also about what you’d expect from an action-adventure blockbuster, though Damon and Pedro Pascal have a buddy relationship that’s a lot of fun. Despite the presence in key roles of Damon, Pascal, and Willem Dafoe, most of the cast are actually Asian, with the standout being Jing Tian as a strong female co-lead.

As you might expect from the director of Hero, the film is a visual feast. There’s vibrant design work, emphasised by cinematography from DPs Stuart Dryburgh and Zhao Xiaoding that makes things like the colour-coded soldiers really pop. And the 3D is spectacular. Although it’s a post-conversion, the film definitely seems to have been shot with it in mind. The massive scale of the wall allows for both deep scenery shots and extreme height, especially when we follow the class of warriors who dive off the wall to fight while abseiling down it. Then there are the arrows, throwing axes, leaping monsters, exploding monsters… Of course the rest of the film has visual depth too — facial details in close-ups, the scale of a large banquet hall, and so on — but the action scenes are a riot.

That’s why I enjoyed The Great Wall, despite its daft plot. The action is a lot of fun, and the whole thing looks spectacular in 3D. From an action-adventure blockbuster, that’ll do me nicely.

4 out of 5

Despicable Me 2 (2013)

2018 #155
Pierre Coffin & Chris Renaud | 98 mins | download (HD+3D) | 1.85:1 | USA, France & Japan / English | U / PG

Despicable Me 2

In this sequel to the popular animated comedy (which I wasn’t that fond of, personally), supervillain turned adoptive dad Gru (Steve Carell) is dragged back into his old world when the Anti-Villain League recruit him in order to track down the villain who stole a dangerous serum. Meanwhile, Gru’s daughters think he needs a girlfriend, and the AVL agent assigned as his partner, Lucy Wilde (Kristen Wiig), seems the perfect fit. Also, his yellow Minions are still around, getting up to all sorts of ker-azy antics.

That’s the concise version, anyhow. This is a film that rambles around a lot in the telling, presumably out of fear that it might ever become boring to hyperactive youngsters. Unfortunately, it almost had the opposite effect on me. The main plot just felt like a shape on which to hang the romantic and Minion subplots, but those subplots just felt like a constant distraction from the main plot. The end result is a film that’s narratively unsatisfying on all fronts.

So. Many. Minions.

Instead, entertainment value comes from individual scenes or moments. Personal preference will dictate just how entertaining those are, however. I didn’t feel there was much consistency, with the humour able to spin on a dime from being pretty amusing to falling flat. It doesn’t help that it feels way too long, overloaded with subplots that don’t go anywhere meaningful and the Minions’ sketch-like shenanigans. And there’s a lot of the Minions, clearly the breakout stars of the first movie (and hence why the series’ next film was entirely centred around them). While they amuse me on occasions, I mostly find them annoying, and am slightly baffled that anyone over the age of about six can find them significantly amusing.

But it looks pretty great in 3D, at least — turns out Gru’s long pointy nose was made for the format — and it’s quite funny and imaginative in places. Still, a good trim would’ve benefitted it enormously. Unless you do really enjoy the Minions, I guess.

3 out of 5

The UK network TV premiere of spin-off Minions is on ITV today at 6:15pm.

Journey to the Center of the Earth 3D (2008)

2017 #139
Eric Brevig | 93 mins | download (HD) | 1.78:1 | USA / English | PG / PG

Journey to the Center of the Earth 3D

Journey to the Center of the Earth 3D (as it’s actually titled on screen, a rarity for 3D movies) is a very loose (very, very loose) adaptation of Jules Verne’s classic fantasy novel — indeed, you could say it’s more of a sequel, as the characters’ adventure is inspired by the belief that Verne’s novel is actually an account of real events. It turns out they’re right, of course, because otherwise this would just be a movie about a man and his nephew trekking up a mountain to find nothing — which sounds like a film someone would make, but not an effects-driven summer blockbuster.

I remember Journey 3D (as the title card indecisively morphs into before finally moving on) going down quite poorly on its release a decade ago, but, looking up sources to cite for that now, I’m not wholly correct: it has 61% on Rotten Tomatoes, which isn’t great but is still considered ‘fresh’, and grossed a respectable $242 million (off a budget of just $60 million). Nonetheless, I expected little of it (I watched it mainly because it’s on my 50 Unseen from 2008, a notoriously under-completed list) but wound up pleasantly surprised… in some respects, anyway.

They're all right

The key to my enjoyment was watching it in 3D, in which it plays more like a theme park attraction than a movie: from the very beginning it has loads of those “sticking stuff out into the audience” hijinks that no one bothers with anymore (indeed, after watching a dozen other 3D movies on my TV, I don’t think I’ve seen anything poke out before). Gimmicky and in your face (literally) though it may be, the effect works, it’s uncomplicatedly fun, and it makes the movie better just because it’s trying. Relatedly, this was the first film released in 4DX, the South Korean-developed theatrical format which features “tilting seats to convey motion, wind, sprays of water and sharp air, probe lights to mimic lightning, fog, scents, and other theatrical special effects”. I imagine all that palaver suits the film really well — as I said, it’s more like a theme park attraction than a regular movie anyhow.

However, that’s just one of the reasons why I imagine it would be nearly unwatchable in 2D. All the stuff that’s kinda fun in 3D would seem pointless in 2D, and the at-the-camera things would be horrendously blatant (I mean, they are in 3D, of course, but at least their purpose is retained). And as for the rest of the movie, the direction feels very TV-ish; or, again, like a theme park attraction — it’s a bit basic, basically. Some moments push towards achieving wonder. I’m not sure they quite get there, but I’ve seen worse. (Director Eric Brevig is a visual effects guy by trade, with credits ranging from The Abyss and Total Recall up through Men in Black and The Day After Tomorrow to John Carter and The Maze Runner, and many more besides. His second film as director was the Yogi Bear movie (you know, the one with that poster), which is probably why he’s not directed anything since.)

Remember when Hollywood thought Brendan Fraser was Harrison Ford?

Let’s not just reserve our criticism for the direction, though: the dialogue is terrible too, including what may be the single worst (or best — it’s so bad it’s good) exchange in the entire history of movies:

Trevor: Max was right. He was right! [shouting] Max! Was! Right! Ha ha! [to Sean] Your dad was right. He was right.
Sean: Hannah, your dad was right too.
Trevor: They both believed in something that everyone told them was impossible. He was right! [echoing:] He was right!

But hey, at least it makes an effort to do that screenwriting thing of eventually paying off every single thing we learnt about earlier… except for a yo-yo, the thing with the most “this is setup for later” introduction. Maybe the scene where they needed to do some hunting got cut… There’s added incidental amusement watching it a decade on thanks to the surprisingly old-fashioned technology on display: computer monitors are still CRTs; cool kids’ mobiles are still flip phones; being able to Google while on a plane is a wonder… It’s like the film is self consciously showing off how much technology has changed in the last decade — which it isn’t, obviously, because it couldn’t’ve known. And hey, if you don’t laugh at it you’ll cry because it’ll make you feel old.

Really, Journey 3D is cheesy, tacky, and kinda terrible… but I also enjoyed myself. Yes, a big part of that was the 3D. I’d never claim it was a good film, and I don’t think that I’d even recommend it, but I wouldn’t write off watching it again someday.

2 out of 5

Coco (2017)

2018 #109
Lee Unkrich | 105 mins | Blu-ray (3D) | 2.39:1 | USA / English | PG / PG

Coco

Pixar’s 19th feature is an American-produced animated fantasy movie that co-opts a foreign culture to tell a story about a guitar-playing kid remembering his dead family — wait, doesn’t that sound familiar? Yes, in broad strokes, Coco is Kubo and the Two Strings Pixar-style. But, instead of Japan, this is Mexico, based around the famed Day of the Dead festival — which has also already been the subject of an American animated movie, The Book of Life. But that didn’t get the best notices, and Kubo didn’t get the respect it deserves, and this is Pixar in non-sequel mode, and so Coco has been praised to the high heavens. And it is good. But I didn’t think it was that good.

So, to start again: Coco is the story of Miguel (Anthony Gonzalez), a kid who desperately wants to be a musician like his idol, Ernesto de la Cruz (Benjamin Bratt). Unfortunately for Miguel, all music is banned in his family, due to his great-great-grandfather abandoning his wife and young daughter to pursue it as a career. On the Day of the Dead, a convoluted and overlong first act eventually gets us to a point where Miguel finds himself actually in the Land of the Dead, surrounded by the skeletal form of everyone who’s passed away. To get back to the land of the living he must go on a quest, accompanied by downtrodden Héctor (Gael García Bernal), who’s being forgotten by the living and needs Miguel to reestablish his memory in the real world. More or less. I mean, the rules get more fiddly and complicated than that.

The magic of music

Frankly, the rambling length was my biggest problem with Coco. It’s not badly flabby, but it’s not as taut as I’d’ve liked it to be either, especially during stretches where you’re waiting for it to get to an inevitable plot twist or development. That’s not to say it’s without surprises — it pulls quite a dark plot twist about an hour in — and surprise isn’t the only virtue a story can have, of course, but it did reach a point where I was virtually shouting at the screen for them to finally get on with what was inevitably going to happen. Surely that’s a sign of something not working.

Maybe that was the music — quite a central part of the storyline, as you may’ve inferred, but I can’t say I was a fan. Mostly it’s fine, but there’s the occasional musical number that just slowed things down. It’s not a musical in the strictest sense either, so the film does stop a bit in order to get each song underway (at least it usually then tries to progress the narrative while the song continues). The big number is the Oscar-winning Remember Me, which has grown on me slightly since I first heard it but, again, I’m not particularly a fan. I don’t know what it is, really, because when I’ve come across mariachi-style music in movies before I’ve often quite liked it. I guess it’s this particular set of tunes, then.

Naturally it looks great — it’s Pixar, would you expect anything less? The colourful Land of the Dead stuff is the best visually, wide shots creating epic vistas, with stunning architecture that suggests quite a world… not that we get to explore it very thoroughly, even though the quest narrative takes us to a few different locations. We certainly don’t get any indication how it functions for the other 364 days of the year. Zootropolis showed us a glimpse of a well-imagined full-scale world, teasing enough that I wanted to explore it comprehensively in further stories. Coco’s just looks pretty.

Colourful vistas

Maybe I’m being too picky? Maybe I’m just trying to work out what it was everyone else loved so much, when I saw a pretty standard Pixar buddy quest story with new surface flourishes. Or perhaps I’m right, and other people were blinded by the emotional ending? The final few minutes are certainly effective at tugging at the heartstrings — even though I hadn’t fully invested in the rest of the film, even I felt a pang… albeit slightly undercut by once again having to yell at the characters to get on with what they were inevitably going to do. Not everything should move at a mile a minute, but c’mon, sometimes you’re just being languorous.

Reportedly Coco had the longest active production of any Pixar movie, with work beginning in 2011 and (obviously) being completed in 2017. There are quite a few deleted scenes included on the Blu-ray which (from a brief flick through) seem to suggest the story once went in quite a different direction. I saw one person say those scenes suggest a much worse movie, too. I guess they kept tweaking the plot, then, maybe until it eventually resembled that familiar broad Pixar shape that dates right back to the original Toy Story.

Coco is a good, but I certainly wouldn’t say it’s perfect. And I think I might go watch Kubo again now, actually.

4 out of 5

The UK becomes probably the last major market to get Coco on disc with its release on DVD, Blu-ray, and 3D Blu-ray today.

Jumanji: Welcome to the Jungle (2017)

2018 #89
Jake Kasdan | 119 mins | Blu-ray (3D) | 2.39:1 | USA / English | 12 / PG-13

Jumanji: Welcome to the Jungle

As Avengers: Infinity War breaks almost all opening weekend records, a surprise box office champ from last year makes it to UK DVD and Blu-ray. Well, it’s not all that surprising that Jumanji: Welcome to the Jungle did well at the box office — it’s the belated sequel to a successful film that has become a childhood favourite for many, and it stars one of the few current actors who’s more-or-less guaranteed to get a film good gross on his appearance alone, The Rock — but how well it did shocked many who commentate on such things. In the US, although it only opened at #2 (behind The Last Jedi in its second weekend), it climbed to #1 for its third weekend, then stayed there for four of the next five weeks. Eventually it overtook every Spider-Man movie to become Sony’s highest-grossing film ever domestically. Worldwide, it’s taken just shy of $957 million to be Sony’s second highest-grossing film of all time (behind Skyfall). That’s more than just some vague nostalgia for an old Robin Williams movie.

Set 20 years later, a group of mismatched high school kids wind up in detention and are assigned to clear out an old classroom. There they find an old games console with a single game: Jumanji. They boot it up, select their characters… and are sucked into the console, finding themselves inhabiting their avatars inside the game’s jungle world. In order to escape they must complete the game, by battling against a gang of mercenaries to return a jewel to its rightful home.

Search for the high school kid inside yourself

It’s a very different setup to the original movie, which is refreshing — it could’ve just been a rehash with modern effects (while the Williams movie still has a lot going for it, the mid-’90s CGI is definitely not one of them). That said, it’s not as innovative or inventive as the first movie. The way that brought the board game’s environment to life in the real world was a unique concept, whereas this sequel merely offers an Indiana Jones-esque jungle adventure, albeit with self-aware characters. It doesn’t even use the fact it’s supposedly a video game that much, aside from a few jokes (our heroes have ridiculous only-in-a-game abilities and weaknesses; non-player characters sometimes have looping dialogue).

Where it does work is the characters and the performances. The headline cast are excellent, playing at once their in-game characters and evoking the real world counterparts who’ve inhabited them. Much of the film’s fun comes from the juxtapositions: the most obvious is Jack Black as a self-obsessed teenage girl in the body of an overweight middle-aged man, but there’s also Dwayne Johnson as a scaredy nerd in the body of, well, The Rock; Kevin Hart as a bulky jock reduced to being a short-ass backpack carrier; and Karen Gillan as an under-confident academic girl now in the body of a sexy Lara Croft type. Well, frankly, I’m not sure how much Hart brings to the table, but Johnson and Gillan are really good (and — minor spoiler! — share what is perhaps one of the best kisses in screen history), and Black is clearly having a whale of a time. The quality of the characters quietly builds to a point where the epilogue back in the real world is surprisingly emotional.

MVPs not NPCs

Unfortunately, not everything works that well. The main things that suffers is the villain. I suppose there has to be one, if only to provide an obstacle at the climax, but that’s also the only reason he’s there — an antagonist for the sake of it. He either needs more time investment, to make him a proper character, or, actually, less — make him even more of an uninteresting obstacle than he already is. Heck, they could’ve got some gags out of the weak plots of old video games. It’s a similar situation with world building. For example, the city they visit looks fantastic in the establishing shot, but there’s no time invested in it — it’s just a place for an action scene, clearly meant to provide visual variety from the other settings of jungle, jungle, and jungle. Maybe that’s ok, but you feel like there could be more to this world.

These issues with plot construction extended to individual gags, some of which feel like setups in need of pay-offs. For example, Hart’s character has a weakness for cake. We learn that, then he accidentally eats some cake and loses a life, but… that’s it? The scene is mildly amusing thanks to the OTT way it causes him to die, but it feels like that’s a reminder — “weaknesses matter, and cake is his” — before a proper pay-off later. But there isn’t one. I mean, how about this: not only does cake kill him, but he can’t resist it (it’s like, you know, a weakness). So in the rhino scene, instead of just dropping him, they drop a trail of cake to lure him along; then, rather than the rhinos just being distracted by him running away, he eats the cake and explodes, which takes out the rhinos. (Hire me, Hollywood!)

There is running. There is also jumping. Yep, definitely a video game.

In some respects these are all nitpicks. They don’t detract from the main fun of the film, which is the mismatch between real-world kids and their in-game avatars, and putting those characters through an action-adventure. The result is amusing and exciting, and ultimately a lot of fun, even if a bit of polish could’ve made it better. Nonetheless, I probably enjoyed it more than the original.

4 out of 5

Jumanji: Welcome to the Jungle is released on DVD and Blu-ray in the UK today.

Geostorm (2017)

2018 #70
Dean Devlin | 109 mins | download (HD+3D) | 2.40:1 | USA / English, Cantonese, Russian, Hindi & Spanish | 12 / PG-13

Geostorm

Geostorm met with widespread derision when it hit the big screen last year, but, despite the many negative reviews (it has just 12% on Rotten Tomatoes), I heard someone say it was actually an entertaining popcorn blockbuster. I forget who that was, sadly, because they were wrong. Very wrong.

Set in the near-ish future, it’s about a giant weather-control system installed in orbit around the Earth that begins to malfunction and cause disastrous freak weather events, which have the potential to build into a so-called “geostorm” — a devastating planet-wide weather fuck-up, basically. And there’s only one man who can stop it… despite the fact he’s not been involved with the system for about three years and during that time it’s been successfully run by a massive team of no-doubt-highly-skilled people.

A lot of films of this type start out okay and get dumber as they go on. Geostorm hits the ground running with shit dialogue and nonsensical plot developments — I’d list some, but God, there are far too many for me to bother. That said, here’s my favourite: when someone advises the US President that they’ll need to send a whole team with various skills and abilities to fix the malfunctioning global satellite weather control system (because, you know, that must be a pretty complicated set of interrelated systems, and no one knows whether it’s software or hardware or whatever else), the President decides they’re only allowed to send… one person. And it isn’t even a specific person who he thinks is a whizz — his next instruction is “find me that person.” And everyone else in the room seems to think this is a reasonable course of action. I mean, there are no words for that kind of stupidity. Well, maybe “Trumpian”, but the film isn’t presenting it as satire. And, as I said before, there’s already a massive staff up there running operations — why would the President not assume the one person with the specific skill-set needed to diagnose and fix the problem is already up there? How do people get paid to write crap this stupid? How could any self-respecting writer generate this?!

From their expressions, I presume they're reading the screenplay

Well, quite frankly, I’m not sure Geostorm was even written by a writer. Exhibit A: About 56 minutes into the movie, one character says “it’s bigger than you and me”, and a supporting character corrects him: “you and I”. But “you and me” is grammatically correct in that situation. Any writer worth whatever you get paid for writing a $120 million movie should know that, ergo there can’t’ve been any writers involved. Or, yeah, the writers who were involved were really, really, really shit. They should be ashamed of themselves.

The film is littered with faults, minor and major, that draw attention to themselves like this. Apparently the original cut received poor reactions from test audiences, leading to extensive reshoots, which I imagine explains some of the inconsistent crap that goes down during the film’s finale. (Spoilers follow, should you care.) One of the significant establishing traits of the film’s primary hero, Jake (Gerard Butler’s character), is he has a daughter who he loves very much — there’s an emotional scene when he leaves her to go off to the weather satellite, and so on. But later, when he has just minutes to live, he seems to have no pressing desire to want to talk to her. He just tells his brother to stay in her life — which the brother wanted to do anyway, but earlier Jake had been stopping him. Written like this that almost plays like character development — how he’s accepted his brother again — but that’s not how it plays out.

Gerard Butler, thwarted by another door

Oh, but it gets worse. (More spoilers!) So, the station’s commander departed ages ago with the rest of the crew, leaving Jake alone to fix the problem and then die when the station blows up anyway (don’t worry about the logistics of that, the film doesn’t). But then Jake gets stuck when he has to… open a door. And suddenly the commander’s there, and she knows what to do to… yes, open a door. So that means she’s been hiding out somewhere on the station, making sure Jake doesn’t see she’s still there, until that precise moment when he needs help… to open a door. Oh, and then, by total chance and plot implausibility, they actually survive the destruction of the station, and get in a satellite and use it to return to Earth. Not an escape pod, a satellite. Why does a satellite have enough empty space to carry two people? There’s no way you could answer this stuff.

Some people, even including some filmmakers, seem to think critics and “pretentious” filmgoers slag off movies like Geostorm based solely on the genre or concept or some other fundamental characteristic. And, yeah, there must be some people who won’t give certain genres a fair shot; but that’s not widely the case, as the praise attracted by better blockbusters proves time and again. No, films like this get slagged off when they’re shittily made. Geostorm is shittily made.

1 out of 5

The Boss Baby (2017)

2018 #12
Tom McGrath | 97 mins | download (HD+3D) | 2.39:1 | USA / English | U / PG

The Boss Baby

The Boss Baby was one of the top 20 highest grossing films of 2017, which earnt it a place on my ’50 Unseen’ list, thereby ensuring it would remain in my consciousness for as long as I referred to said list (i.e. for the rest of time). Then it went and got nominated for an Oscar too, displacing the likes of The LEGO Batman Movie and Ghibli heir Mary and the Witch’s Flower in the process. With those factors combined, I felt I had to witness it for myself. I chose to do so in 3D, to hopefully ameliorate at least some of the anticipated discomfort of watching the film itself. I needn’t have worried: despite what many people will tell you, I thought The Boss Baby was actually pretty good. Well, most of it.

It’s the story of Tim (voiced by Miles Bakshi and in narration by Tobey Maguire), a seven-year-old only child with a hyperactive imagination and two doting parents. But then a new baby arrives… As Tim’s parents’ affection shifts to their attention-demanding bundle of joy, he’s the only one who can see the truth: that the baby wears a suit, carries a briefcase, and is clearly a businessmanbaby on some kind of undercover mission. Obviously no one will listen to Tim, so he sets about exposing the truth.

Sibling rivalry

For all its daft humour, the reason The Boss Baby is so successful (for an adult viewer) is that it’s actually a really neat way of tackling the whole “sibling displaced by new baby” thing, from the kid’s point of view. That’s the thematic and subtextual meat that makes it more than just “wouldn’t it be funny if a baby was a businessman!” As part of this, it has a nice line in juxtaposing how an imaginative seven-year-old sees the world versus how it really is — showing us both Tim’s fantasies and the actual events they’ve launched off from. It allows the film to have exciting and kooky stuff (like talking business-babies and elaborate action scenes) while also remaining grounded. Watching in 3D heightens this further, incidentally: as with most computer-animated films, the 3D effect is generally pretty nice, but it really comes alive during the fantasy and action sequences.

If that all sounds oddly serious, it isn’t. Arguably best known nowadays for his Trump impersonations, Alec Baldwin is an obvious choice to voice an infantile businessman. This one’s actually competent, though, so Baldwin plays it straight and thus is dryly witty. There are also plenty of amusing visual gags, one-liners, and so on to fulfil the expected comedy remit. Okay, some don’t land or are a bit juvenile, but it is a kids’ movie after all.

Parents are so gullible

Unfortunately, what works in the early sections begins to go awry later on. By the third act it’s lost the connection to plausible reality that made Tim’s imagined versions such fun — it’s impossible to translate the OTT action we’re witnessing into what might be really happening. I know it sounds daft to talk about plausibility in a film about a baby who’s a businessman, but it’s the relationship between Tim’s fantasies (i.e. the business-baby stuff) and real-life (i.e. really he’s just a new baby) that makes the earlier parts work.

Arguably worst of all is the epilogue, which takes a very serious emotional issue (the loss of a baby) and tosses it aside to expedite the resolution the filmmakers want to reach. Maybe it’s a bit much to expect a kids’ movie to attempt to tackle the realities of losing a child, especially when it only introduces that element in its closing minutes, but then surely the solution is to not even go there; to find a better way to wrap up the story?

It’s this increasing lack of attentiveness that ultimately led me to give the film a 3 instead of a 4. If it had kept up the early quality through to the end, I likely would have looked more generously on it. Nonetheless, thanks to the bits that worked really well, I generally found the film to be a pleasant surprise.

3 out of 5

Spin-off TV series The Boss Baby: Back in Business is available on Netflix from today.

Cars 3 (2017)

2018 #54
Brian Fee | 102 mins | download (HD+3D) | 2.39:1 | USA / English | U / G

Cars 3

At this point I think it’s fairly well known that the Cars movie series continues not because of any artistic desire on the part of Disney/Pixar, but because the toys the films generate sell like hotcakes. Indeed, that situation hasn’t necessarily changed with this third instalment: apparently Cars 3 features 65 different individual racers, more than both the previous films combined. And several of those appear kitted out in different paint jobs. Disney gotsta make that toy money! The disregard with which they hold the actual movies is perhaps demonstrated by the fact this third one is helmed by a first-time director, Brian Fee, whose previous credits are as a storyboard artist on a couple of Pixar productions. Maybe they lucked out, then — or maybe they actually knew what they were doing promoting him — because I think this is easily the best film in the Cars trilogy.

Beginning with nary a reference to the events of Cars 2, racer Lightning McQueen (Owen Wilson) is back doing what he loves: racing. That’d be American-style racing, i.e. constantly turning left for hundreds of laps. Anyway, turns out there’s a new generation of hot young racers, who are less on their way up and more already here, led by Jackson Storm (Armie Hammer). They use advanced training techniques and statistics to beat the old guard — soon all of Lightning’s contemporaries are choosing to retire or being forced out, leaving him the last one standing… until he crashes in the final race of the season. Is his career over? Well, what do you think? With the backing of a new sponsor, Sterling (Nathan Fillion), and all the latest high-tech gear, Lightning sets to work training with young wannabe-racer-turned-coach Cruz Ramirez (Cristela Alonzo). But as he struggles to regain his mojo, perhaps there’s something to be said for the old ways after all…

Storm vs Lightning

Although I wouldn’t say sports movies are my bag, I think Cars 3 probably benefits from taking a more clean approach to that genre, ditching all the spy hijinks distractions of the last one. That purity of genre keeps it straightforward and focused. It also re-centres itself on Lightning McQueen, shoving Mater (Larry the Cable Guy) back into a cameo-sized supporting role, which is about where he belongs (I wouldn’t say he’s likeable in small doses, but he’s tolerable). It still finds room for humour and levity, just in a more natural, less goofy way.

Around that, it actually takes a run at some weighty themes — specifically, old age and obsolescence — and carries through on them too, with a finale that goes for more of a “finding worth in what you do next” ending rather than a “still got it (for now)” one. Such maturity means it’s perhaps more suited to Pixar’s grown-up fans than their young ones — it’s a surprisingly serious movie, in fact, without being po-faced about it. That said, you could probably play down the thematic stuff and just be entertained: there are still good set pieces, both action-based and comical, to keep the right family-friendly tone.

It makes for a winning combination. Cars 3 may not trouble the upper echelons of Pixar’s greatest achievements, but it is the best of their Cars movies — the first of the trilogy I remember genuinely enjoying, rather than just finding tolerably okay. That might sound like a low bar to set, but Cars 3 clears it admirably.

4 out of 5

Cars 3 is available on Sky Cinema from today.

Transformers: The Last Knight (2017)

2018 #47
Michael Bay | 155 mins | Blu-ray (3D) | 1.90:1 + 2.00:1 + 2.35:1* | USA, China & Canada / English | 12 / PG-13

Transformers: The Last Knight

Here we have the fifth Transformers film in 11 years from director Michael Bay. At this point you ought to know what you’re getting — the style hasn’t fundamentally changed since at least the third movie, arguably since the first, so if you dislike those then most probably there’s nothing for you here. I say “probably” because I’ve seen at least one review from someone who despised the fourth film but enjoyed this one, so clearly there’s always room for variability.

We’re dealing with variations on a theme, then, and The Last Knight brings a few fresh-to-the-franchise plot spins to add a different flavour and texture this time out. Firstly, a prologue tells us that Transformers were already in England about 1,600 years ago, when they fought alongside King Arthur and Merlin, the latter of whom didn’t wield magic but actually Autobot technology (and is played by Stanley Tucci, hamming it up something rotten). This relates to the present day because… well, I could explain it to you, but it gets fiddly and, frankly, if you care then you’ll find out when you watch it. But, basically, in present day America Transformers are hunted and Cade (Mark Wahlberg) is an outlaw helping hide some of them and rescue others. When a MacGuffin from Arthurian times attaches itself to him, he winds up on his way to England to meet Sir Anthony Hopkins, the last in a long order of… oh, yeah, I said I wasn’t going to explain it. Anyway, only Marky Mark and Clever English Totty (Laura Haddock, playing the kind of Oxford professor who dresses like a secretary in a porn film) can save the world. Who do they need to save the world from? Optimus Prime! Dun dun duuuun!

Now he's called Nemesis Prime, for no good reason

It’s all nonsense, of course, but then the inherent concept of Transformers never made any sense so what does it matter? Adding in Arthurian legend and making Optimus Prime a baddie doesn’t make it any dafter than it already was. And that’s only the half of it — there are more disparate story threads and subplots than a particularly complicated miniseries. Despite being shorter than the last movie, it’s still indulgently long — and needlessly so, too. There’s a ton of stuff that could be cut to streamline the plot, from individual shots and lines (the Arthurian prologue is probably twice as long as it needs to be) to whole characters (a street girl Cade basically adopts, Izabella, contributes nothing of major significance in the end). After about an hour, the story basically stops and starts again — that’s how long it takes to get to Sir Hopkins. Stuff from the first hour remains relevant, certainly, but I’m sure there were other ways to handle it. By getting through the first hour of the movie in half the time, for one thing. For another, don’t introduce major-seeming characters that you’re then just going to set aside and ignore for the next hour while you introduce whole new ones.

It’s remarkable how the Transformers movies can have way too much plot and not enough plot all at once. If you want to follow it you have to pay attention, not only because there’s a lot of mythology to take in, but also because Michael Bay chops it all up into bite-size chunks amongst frenetic action sequences. The film is cut like one long trailer — but that’s been Bay’s MO for a while, so, as I said at the start, no one should be surprised. It remains, in its own way, impressive. As I previously said in my review of Age of Extinction, it’s almost avant-garde: a tumble of images and sound that give you an impression of what’s occurring rather than straightforward traditional storytelling. And I say it’s impressive because it must be so much work to create — all the camera setups involved; events staged for a single, fleeting, couple-of-seconds shot; and then edited together with non-stop dynamism, rarely pausing for any notable period.

Non-stop Bayhem

And if you think that’s mad, wait until you see how Bay uses aspect ratios. Thanks to Christopher Nolan and The Dark Knight blazing a trail, we’ve now had a fair few movies that use the IMAX format for select sequences, and emulate that on home media by allowing the aspect ratio to change — for laypeople, that’s when the black bars at the top and bottom disappear and the picture fills the screen. As I say, generally this is used for specific sequences, or occasionally for a particularly grand individual shot; and usually there are two ratios, approximately 2.40:1 (with the black bars) and approximately 1.78:1 (without). Bay uses… more than that. And he does so almost indiscriminately. They’re so all over the place that you can’t miss them. Like, there are standard shot-reverse-shot conversations between two characters, but each character has a different aspect ratio… and then, as if that wasn’t bad enough, halfway through the scene one side will switch to another ratio! It just leaves you wondering why and how it ended up this way. What was the intention? What was the point? Well, that’s not a new question with Bay — he still uses five shots when one would do, so why not extend that same thinking to the film’s aspect ratio?

Despite the faffing around, much of it still looks impressive in a purely visceral sense. Like every modern tentpole, it cost a fortune to make ($217 million), but at least it looks like it did: there are so many grand sets and large-scale set pieces, much of it built or performed for real — not the giant robots, obviously, but there are car chases and human stunts and so forth that they did in real-life rather than in a computer. The money is splashed all over the screen, to the nth degree. Is that inherently a good thing? Eh. But it makes you wonder where some other $200m+ movies spend their money — especially when you consider that apparently production difficulties resulted in a lot of material being filmed but never making it into the final cut. How much? Well, supposedly a whole hour of footage was ditched from the original cut to get to the theatrical version. As I’ve already said, the film’s too long as it is, but it’s a shame there are no deleted scenes available because I’d be kind of fascinated to know what more was meant to be there, and to see how much money it looks like they wasted on it.

They really did hang Marky Mark out the side of a speeding vehicle, donchaknow

In what we did get to see, the size of the endeavour and the impressive quality of the imagery is emphasised by how it was filmed. A large proportion of the movie was shot in IMAX 3D (apparently 98%, but I’m certain there was more than three minutes in non-IMAX aspect ratios), and there are innumerable moments that benefit from the depth and scope of the format. Post-conversion has come a long way, but I’m not sure it can always equal doing it for real, especially on a format with the quality of IMAX. That said, the visual splendour didn’t strike me as much as it did in Age of Extinction. Perhaps that’s because, as Richard Brody put it in his New Yorker review, Bay’s “sense of speed works against his sense of scale and of detail. All the best moments in the movie — pure images, devoid of symbol and, for that matter, nearly empty of sense — go by too fast, are held too briefly, are developed too little.” There are some great shots in here, but the rapid editing just races past them. If you wanted to find and appreciate the shots fully, you’d have to damn near go through the whole thing frame by frame. I’m not sure they’re that good.

Although Bay and his directorial style always get a critical slating for these movies (more so than others he’s made in the same period — Pain & Gain and 13 Hours both attracted a reasonable amount of praise), they let him keep making them, and he keeps wanting to. The former makes sense: although you rarely find someone who admits to liking them, they keep making money (The Last Knight is the series’ lowest grosser worldwide, thanks to a particularly poor US showing, but it still took over $600m). As for the latter… no, I don’t know why he keeps coming back. Can you think of another blockbuster-level director who’s made five films in the same series? No one instantly comes to mind for me, and even those who are close (Lucas with Star Wars; Spielberg with Indiana Jones) did so over a long period of time with many films in between. I mean, if Bay wants to do it then why not — it’s his life and career — but I don’t quite understand it.

The three-headed robot dragon that I almost forgot

As I said nearly 1,500 words ago (I never imagined I’d have so much to say about this movie — and I haven’t even mentioned the three-headed robot dragon, or the C3PO-alike comic relief butler), everyone should know what they’re getting with the Transformers films by now. The Last Knight shares the same pros and cons as the other entries in the series, to one degree or another — by which I mean that, for instance, I found the plot a little more coherent than last time (though still totally barmy), but I wasn’t quite as bowled over by the visuals (which are at least half the point of these films, I feel). On balance, I’d say it’s one of the franchise’s better instalments.

3 out of 5

Transformers: The Last Knight is available on Sky Cinema from today.

* The listed ratio for The Last Knight is 1.90:1, because that’s the tallest, but its shifts into various other ratios are very obvious, as I discuss in the review. The three I’ve listed are the most obvious, but one of the trailers was shown to use eight slightly different ratios, so who knows how many there really are? ^