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The LEGO (R) Movie” is the first-ever, full-length theatrical LEGO (R) adventure. The original 3D computer animated story follows Emmet (Chris Pratt) an ordinary, rules- following, perfectly average LEGO mini figure who is mistakenly identified as the most extraordinary person and the key to saving the world. He is drafted into a fellowship of strangers on an epic quest to stop an evil tyrant, a journey for which Emmet is hopelessly and hilariously under prepared.
Once exclusively the domain of Saturday morning cartoons, where they functioned as feature-length commercials for the brands in question, toy-based entertainments now lead the box office, and an assignment like this — which will massively affect the bottom line of the product in question — could have gone any number of ways. On one hand, “Toy Story” had long since cornered the sincere ode-to-childhood-playthings approach, while the “Transformers” and “G.I. Joe” movies went the overkill route, all but obliterating the notion that those bombastic adventures could in any way relate to how kids use the related toy products, and treating them more like the afterthought tie-ins “Star Wars” and other films typically support.
But “The Lego Movie” demonstrates something altogether different. The film functions as a massive homage to a shared childhood experience, amplified and projected on the bigscreen. So, while the result is undoubtedly the single most product-centric film of all time, it’s also just hip and irreverent enough to leave audiences feeling as though its makers managed to pull one over on the business guys. They’ve gotten away with something, upholding and expanding the worldwide Cult of Lego — the plot literally serves to cement the right and wrong way to play with the product — while good-naturedly skewering consumer culture at large.
Once exclusively the domain of Saturday morning cartoons, where they functioned as feature-length commercials for the brands in question, toy-based entertainments now lead the box office, and an assignment like this — which will massively affect the bottom line of the product in question — could have gone any number of ways.
The experience opens with a bombastic, but not-entirely-serious confrontation between a power-hungry Lego figure named Lord Business (Will Ferrell, back in evil-with-a-wink “Megamind” mode) and good wizard Vitruvius (Morgan Freeman, poking fun at every voice-of-authority figure he’s ever played) for a force that gives whoever possesses it control of the entire Lego universe. This powerful entity is trumped only by the “Man Upstairs.”
And so the Lego people live in a state of primitive superstition, torn between their ambitious new leader — who reinvents himself as President Business, issuing an elaborate system of “instructions” that keep his citizens tightly confined to their respective realms — and the mysterious godlike entity whose hand can reach down at any time to rearrange everything according to his own design. As anyone who has played with Legos knows, a strict adherence to the rules makes for relatively mindless play, whereas things can really get fun when one dumps all the bricks onto the bedroom floor and starts freestyling creations from scratch, even if that means blending pieces from pirate, castle, space and city sets (which is precisely the sort of disorder President Business aims to quash).
Lego fans have been making their own Lego movies for years, to the extent that the company even introduced a “Lego Studios” line in the year 2000 that included a Steven Spielberg-lookalike director and a working stop-motion camera. In choosing the look of their big-budget production, Lord and Miller stick to that aesthetic, using computer animation to simulate the surface texture and slightly jerky movement we might expect if someone had orchestrated the entire experience with plastic toys painstakingly repositioned and photographed one frame at a time (according to the press notes, that would have taken no fewer than 15,080,330 bricks).
Such things may not seem important to the casual observer, but the creative team had to make important decisions about how the characters move and behave, committing to a look that mirrors how the plastic pieces appear in real life: They can be taken apart and reconfigured, but they don’t bend (the way they do in Lego videogames). At the end of the day, everything remains molded plastic, complete with visible nicks and scratches. The tiny faces appear “painted” on, but are also interchangeable, which supports Liam Neeson’s hilariously conflicted police officer (whose head rotates to reveal both Bad Cop and Good Cop personalities) and a wide range of crazy, caricatured expressions for everyone else.
As in Lord and Miller’s two previous pics, the directors allow things to swell bigger than the assignment requires, and the story gets away from them a bit in its final third. The difference here, however, is that they’ve built in a separate level on which to watch the entire experience, inviting audiences to enjoy the creativity of the construction itself — which is something the film shares with any child who’s ever invented an unintended use for an existing Lego piece. They have fun representing elements such as fire and water with repurposed plastic, or introducing “relics” (such as Band-Aids and housekeys that somehow got mixed up with the Legos) into the characters’ midst. The wildly creative result — lively and ultimately more than a little overwhelming — embodies precisely what is meant when something amounts to more than the sum of its parts.
According to an ancient prophecy repeated by Vitruvius, one day a “Special” will arise to dismantle the rigid conformity that governs the Lego universe — a concept that echoes Warners’ own “The Matrix,” albeit with none of that film’s self-seriousness of tone. Where Trinity did the honors in that film, a sexy goth chick who calls herself Wyldstyle (Elizabeth Banks) inadvertently introduces Emmet (“Parks and Recreation’s” Chris Pratt), an endearingly empty-headed construction worker, to the notion that certain Master Builders have the power to recombine available pieces into anything they can imagine.
This encounter has profound existential implications for Emmet, who had previously been content to follow the rules: buying expensive coffee, watching braindead TV and singing along with an insidiously catchy anthem called “Everything Is Awesome” that keeps the citizens of Bricksburg working, building and buying in lockstep. Now, with his little yellow mind blown, Emmet is pulled into a renegade adventure to help Wyldstyle thwart President Business’ plans to cement his neatly ordered Lego world in place with a substance called Kragle (actually, Krazy Glue, with a few of the letters rubbed off its tube).
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