Today's overdose of news

It's been a busy week for posting movie news after all:

http://www.moviescene.nl/p/157368/nieuwe_trailer_jupiter_ascending

Jupiter Ascending is back with a vengeance. We've had zero word on the project since it was postponed a few months back, but it's certainly set to be the big film of February 2015. Which seems an odd time to release such an ambitious and expensive title, but at least it ensures there's not a lot of competition to go up against. In terms of visual effects and atmosphere it seems this is going to be quite a thrilling piece, but I have my doubt about the plot, which marries an element or two from Dune to bits and pieces of The Matrix and of course mixes the epic qualities of Star Wars in as well. Then again, I kinda dig the notion of humanity simply being bred as a resource for an extraterrestrial imperial dynasty's vain pleasures. It doesn't seem to emphasize the moral and existential 'specialness' such Sci-Fi films inherently attribute to our species, usually portraying them as the great wonder of the galaxy. Here, humanity is just a big herd of dumb sheep, ignorant to the bigger picture. Of course, this fairly rebellious notion is sure to be shattered by the character played by Mila Kunis. And speaking of Kunis, I'm not convinced of both her and Channing Tatum's ability in terms of acting to carry such a big blockbuster movie. At least there's a decent cast of supporting characters (Sean Bean, yay!) to make up for it if they fall short.

http://www.moviescene.nl/p/157333/game_of_thrones_acteurs_gecast_in_pride_and_prejudice_and_zombies

There's enough pride & prejudice in the Lannister family to be siphoned off by other projects for sure. Game of Thrones has also witnessed its fair share of zombies, too. Any excuse to get Headey and Dance showing off their considerable acting talents, on their own or together, is well worth the effort. Dance should have plenty of time on his hands, now that he's not likely to do much more work on GoT (and boy, will we miss him!). The cast for this movie grows ever more impressive, perhaps more so than its decidedly silly premise deserves. It's a clear sign all these grand actors, who usually deal with heavily dramatic performances, need a break at times, something lighter to keep from going insane. Pride and Prejudice and Zombies may be just what Headey and Dance need, to keep their mind of all the political intrigue, backstabbing and murderous family squabbling they've had to endure in recent years. It'll be great to see them bounce off such frustrations on the mindless hordes of the undead.

http://www.moviescene.nl/p/157366/game_of_thrones_acteur_wordt_booswicht_maze_runner_2

Here's another GoT actor who has time to spare for a big genre movie. Considering the series has progressed as far as the books with Littlefinger's particular story line (or Sansa's, to be more precise), I wouldn't be surprised to see he was used only sparingly in the next season. Which gives Gillen time for other things, like playing another villain (come, on, that's what Littlefinger is and you kow it!) in a hugely popular dystopian teen franchise. I have no doubt he'll excel at playing the part of the character called the 'Rat Man', even though, considering the pace with which The Scorch Trials is being produced (the deadline ends in less than a year from now), it seems he has very little time to prepare for the role. Good thing his experience on Game of Thrones comes in handy then.

http://www.moviescene.nl/p/157335/nieuwe_trailer_laggies

Oh hey, they made a movie about my lack of a career! And Keira Knightley is playing me. Odd choice, but I'll take it. But seriously (if ever), this movie is just made to reflect on the many millions of people lagging in their lifes, of which I am only one. Hopefully it'll also provide a solution out of this mess that is my existence, other than the generic resolves of embracing adulthood and responsibility. Which wouldn't help me any further, as I do believe at least the latter element is perfectly honed in my case. But from the trailer it at least appears as if I would leave the theater in a cheerful mood, as the sizzling levels of feel-good juice are dripping off my computer screen when it's playing this preview of Laggies. Whether the movie will have the same effect, or whether I'm in for a painful confrontation with the hard, merciless truths of life remains to be seen. It's starring Keira Knightley, so the latter scenario seems unlikely.

http://www.moviescene.nl/p/157350/neeson_en_freeman_in_ted_2

More actors in for a change of pace and genre. These days, Liam Neeson is either starring in a slick but forgettable action thriller, or a comedy cannibalizing on his persona of a slick (and forgettable?) action thriller star. The latter was the case in Seth MacFarlane's previous zany comedy, A Million Ways to Die in the West, in which Neeson made quite the badass desperado. Seems both parties enjoyed their collaboration well enough to go at it again, though one of them is resorting to doing voice work only again (and it's not Neeson). Freeman is still wandering around completely at a loss as to providing any sensible exposition of what exactly went down in the unintelligible Lucy, and apparently hopes to do a better job explaining the still somewhat fuzzy science behind a living teddy bear. Probably easier to do than providing the many answers that come with a woman unlocking her mind to the max and turning into everything there is. Or stuff. I dunno. And neither did Freeman. No freckle added to his face for a job well done on that one, that's for sure.

http://www.moviescene.nl/p/157371/nieuwe_trailer_big_hero_6

Well, this looks simply adorable. And also quite un-Marvel for what is in essence still a Marvel movie. The subject matter obviously lends itself better to a regular Disney animated film, or so this catchy trailer would suggest. It does make for a less complicated Marvel movie that refrains from tieing into other Marvel movies for a change, diversifying the Marvel properties under Disney's control. Yet it remains faithful to the source material in keeping the (fictional) Japanese type of setting, though the characters don't seem all that South-East Asian, except for the robot himself which seems to come straight out of a Studio Ghibli film. This movie seems to do a great job of marrying the younger side of Marvel to the traditional Disney style, yet ensuring there's enough to enjoy for the adults in a way more reminiscent of Pixar. But what's up with keeping this one in the fridge for Dutch theaters for four months? That's just asking people - not me, I must say - to start downloading illegally! I thought Disney had learned their lesson on Up. Though waiting four months instead of six admittedly is a kind of progress.

Today's Review: The LEGO Movie

The LEGO Movie: ****/*****, or 7/10

Movies based on pre-existing toys are often the stuff of anxiety for those that grew up playing with them, especially when it concerns brands that have been around for decades and thus have proven to be multigenerational. Will the alliance between movie studios and toy manufacturers, always driven by mutual profit first and foremost, yield a final viewing experience that not only serves to push kids into nagging their parents to go get them some but also to remind the older spectators as to why they themselves enjoyed the toys so much they feel their kids should continue playing with them, too? So far, few toy based films have succeeded on both fronts, as most of them are pretty dreadful: compare films the likes of Transformers and Battleship for example. Fortunately, The LEGO Movie doesn't fall into that same category of failure at all, as it enhances the feeling of joy and excitement experienced by everyone that ever built something from scratch out of the colourful little bricks. That said, from an ideological perspective, the motives behind the film's plot cannot helped but be questioned by mature audiences when the film is over.

Of course, a movie about toys can't feature the toys themselves being played with for two hours, it needs a narrative structure to suck audiences in. The LEGO Movie introduces the character of Emmet (voiced by Chris Pratt), about as generic a LEGO minifigure as they come: typical old fashioned yellow head, not much physical accessories, wearing the same smile almost all day every day. He's got reasons to be smiling, as he believes himself to live in the perfect utopia, courtesy of President Business (Will Ferrell) who provides everyone with instructions to live their full life by, ranging from morning exercises, breakfast, buying overpriced coffee (37 dollars, awesome!) and carrying an eternal sunny disposition. The catchy national anthem 'Everything is awesome' not withstanding, it goes without saying this existence is one big lie and no good will come of its continuation.

Emmet is soon drawn into a wholly different life style altogether when he accidentally touches an unusual item that soon sticks to his back, meets a beautiful girl who looks nothing like all the other minifigures he has known and is promptly declared an enemy of the state, necessitating him and the girl named Wyldstyle (Elizabeth Banks) to go on the run. Basically a little plastic version of The Matrix, Emmet soon learns there's another realm beyond that which he always took for granted, as many dimensions, each with a theme of its own – including Western and 'Middle Zealand' – peacefully coexist alongside each other. Unless President Business destroys them all by gluing everything together permanently, according to his own rigid instructions. Fortunately, Emmet may be the 'Special', a minifigure with extraordinary master builder skills, who is the only one able to stop the shady schemes at hand. And so he teams up with the blind wizard Vitruvius (Morgan Freeman), a pirate composed of various random parts called Metal Beard (Nick Offerman) and of course, Batman (Will Arnett), who is kind of a dick, to save the LEGO worlds from blind, obedient universal conformity, to let creative freedom ring.

Directed by the duo of Phil Lord and Chris Miller, who have proven themselves to be experts in whimsical animation, The LEGO Movie proves a feast for the eyes as we behold just what you can do with the little bricks. Or at least, what you think you can do. Make no mistake, this film is not stop motion animated with little LEGO figures, it's all computer animation designed to look like the stiff toys are moving about. Deception is key here, but we are deceived pretty well by the fabulous look, as we witness smoke made of LEGO, explosions made of LEGO and even oceans made of LEGO. It's an awe-inspiring sight for everyone who has ever tried to make LEGO look the least bit realistic and ended up being several tens of thousands of bricks too short to get anywhere on that front. Any sense of jealousy on what the computer can create with LEGO is smothered in the film's great sense of humour, building jokes as easily as putting bricks on top of each other. Aside from the traditional number of safe but smart popcultural references, the best gags spring from our plastic heroes witty selfreflection as to being just that. Miller's and Lord's infective comedic talent, joined by the voice cast's audible delight, ensures everyone in the audience is quickly wearing a smile all too similar to those featured on the classic minifigures' faces.

That said, it isn't all fun and games, this is business too. The LEGO Movie takes its message of 'everyone should build whatever the heck they like' very seriously, clearly preferring random creativity over slavishly building stuff based on what the printed paper says it ought to look like. Which leads to a rather serious showdown as the actual status quo of the LEGO realms is revealed and a cheerful kid confronts his ruthless father, begging him to just let him run with his imagination. Being played by Ferrell too, clearly the unimaginative adult mind is in the same league as the childish destructive view of business as presented by the film's bad guy. Rather hypocritical, as the LEGO company is itself a major toy corporation that hasn't gotten to where it is now by giving kids their product to play with, but selling it to them instead for hard cash. Sure, kids can build whatever they want, but it's the business of the product and the parents that pay for it that provides that option for them. There's something eerily uneven between the movie's message and the actual state of affairs, as this movie certainly isn't about spreading the gospel of global creativity, but to make everyone involved in its production money (and then only those willing to cooperate: notice the lack of Marvel superhero figures opposed to those of DC, while both brands are available as buildable sets in every toy store). Of course, kids won't realize this and most parents will be too busy enjoying the movie to care, until their offspring start whining for more LEGO to play with and they have to pay the bills. And at that point it's hard to deny The LEGO Movie is something other than an insidiously effective 100 minute advertisement for the great LEGO product.

But while watching the movie, everything is indeed awesome, as our inspiration is fueled by the grandiosely detailed design of the various LEGO worlds and the sheer fun for young and old that inhabits them. And then the credits roll, and that itch to get some bricks to start building yourself is heartily felt...

Today's minireview: Oblivion

Oblivion: **/*****, or 5/10

Disappointing sci-fi actioner by Tron: Legacy director Joseph Kosinksi, yet another one of those flicks that seems to think that having Tom Cruise in every single scene makes for a good film in itself. This time Cruise plays a military veteran stationed at a small base up in the sky, from where he and his female co-worker (Andrea Riseborough) oversee and conduct repairs on a vast network of drones, which is used to safeguard giant machines scouring the planet of its last remaining natural resources. After all, we are talking about a post-apocalyptic Earth here, ravaged by war between humanity and some alien species, that witnessed most of the planet becoming uninhabitable to human life. Therefore, mankind left the planet and settled elsewhere, leaving Cruise and his drones as a sort of worldwide mop-up crew (think Wall-E). Or so Cruise thinks. His world is turned upside down soon enough when he encounters an underground force of human rebels who fight to preserve what's left of their planet under the command of Morgan Freeman (who unfortunately has much too small a role; he deserves better and so do we). The ugly truth is revealed when it turns out Cruise is the true alien evil and there's hundreds of duplicates of himself, an army of clones engineered by extraterrestrial intelligence to stripmine the planet while being unaware of the real facts, just hoping to soon complete their job and go home (think Moon). Of course the real bad guy – a giant super computer with its own nefarious agenda (think I, Robot) – won't allow Cruise to switch sides so easily and thus a rather boring fight ensues between the rebels and the drones. Despite the sometimes intriguing premise of the main character finding out his whole life is a lie so he needs to reinvent himself, existential questions about the nature of the self are briskly ignored in favour of monotonous action scenes involving guns, bikes and funky aircraft, all of them seemingly designed by the Apple Corporation, considering the film's overreliance on slick, white, minimalistic looking technology. After a while, shots of Cruise flying around in his little helicopter get exceedingly tedious. At least the spectacular Iceland vistas do not, nor do the grand sights of famous (digital) architecture left to rot in desolate landscapes. And it is gratifying to see Hollywood jumping on the 'creepy drone technology' bandwagon so quickly (though it will probably brand the movie as 'soooo 2013' in years to come). But despite a few points in Oblivion's favour, it can't be helped this film is simply dull and derivative.

Amistad

Rating ***/*****, or 7/10

Spielberg's testimonial against the nineteenth-century African slavery industry. On the slaver vessel La Amistad in 1839, a group of slaves revolted, after which the ship was steered towards the USA, where a lengthy string of courtroom sessions controlled the mutineers' fate. Spielberg unfortunately lets the courtroom scenes dominate the film too much, which makes for a rather static and lengthy view that often fails to compel its audience, but the flashback scenes that illustrate the deplorable suffering of Africans aboard slaver ships fully underscores the horrors they underwent and the issues at stake for the Amistad slaves, and feels like a fist punch in the face of viewers who might otherwise have fallen asleep. The various parties involved, including the Southern and Northern American states, the British Navy and the Spanish royalty provide for an historically intriguing but narratively chaotic overall plot line. Spielberg made this film with the best intentions, but it's obviously not as much his cup of tea as the Second World War or the Holocaust proved to be. The movie does include some powerful performances though, both by veteran actors the likes of Anthony Hopkins and Morgan Freeman, as well as relative newcomers Matthew McConaughey and Djimon Hounsou.

Starring: Morgan Freeman, Djimon Hounsou, Anthony Hopkins

Directed by Steven Spielberg

USA: Dreamworks SKG, 1997