Film Review: The Lego Movie

Legos have always been my favorite toy.  In fact, they still are.  For as long as they've been around, it makes me wonder what took so long for somebody to make an official Lego movie.

Then again, what kind of movie could possibly be made out of these silly little construction blocks? The biggest fear going into this movie is that it could have just been 90 minutes of senseless fluff.  Even kids thought this would be stupid.

Fortunately, the film overall proves to be quite sharp and clever for audiences of all ages.  It breezes by at a brisk pace, loaded with fast-paced comedy and visually-striking action.  Even during the film's most grim and dramatic parts (of which there are a few), the tone remains light, but without being too overbearing or sappy.  The comedy keeps everything consistently fun and endearing, thanks to a ton of great random lines, sight gags, pop culture jokes, and some self-parody.

What really makes this film work, however, is the substance.  You'd think it'd be easy to write this film off as a mere marketing tool to sell more Legos (and it's probably working), but even then, The Lego Movie takes care to use Legos as the medium, more than a mere product to shove down our throats.  With Legos as the film's primary canvas, the film immediately whisks us through a universe of colorful building blocks, complete with literal worldbuilding and mythos.  The story treads on familiar ground; the characters inhabit familiar archetypes (I especially couldn't help but to draw comparisons between Emmit and Neo from The Matrix; the wizard might as well fulfill the same role as Morpheus, and Wild Styles is much like Trinity), and the plot is molded in a formulaic epic-journey structure.  What really makes this film brilliant, however, is the meta-fiction dynamic that becomes apparent as it goes on; it's a dynamic that made films like Cool World and Who Framed Roger Rabbit? novel, but The Lego Movie takes it a step further by tying in the story and themes together with (at least seemingly) earnest and heartfelt intentions.

At it's core, The Lego Movie emphasizes creativity as the theme.  It is the basis of the story's conflict, it is the focus of the characters, and it is the idea that resounds through the script.  The film firmly declares that we are all special individuals, all capable of creating new, imaginative, unique things.  Legos have always been a toy to nurture that creativity, and The Lego Movie is a celebration of the creative spirit.  It is a theme that's not only inspiring for children, but also for the inner child.  I believe this film supports one fundamental truth I've always believed in:  it is more powerful to create than to destroy.

This film is animated very distinctively with CGI that convincingly looks like stop-motion animation.  It is all very colorful, well-rendered, well-textured, and has good-looking lighting.  Movements are made to be a bit stiff on purpose, and it achieves the perfect effect of looking like a home-made feature.  Voice-acting is great, and the script is pretty sharp.  This production does a great job of replicating thousands and thousands of Lego pieces on-screen to create big imaginative worlds.  Music can be strangely catchy too.

The Lego Movie is to movies what LittleBigPlanet is to video games; they both have a seminal home-made look and charm, but with a firm focus on creativity and individual expression.  Legos have been an endearing medium of creativity for years, and chances are that they'll remain on toystore shelves for more years to come.  Even if this movie is merely a marketing tool, it is a well-made one with a lot of heart and spirit.  I think the movie - and the toy - is quality entertainment for anybody young and old.

4.5/5 (Entertainment:  Perfect | Story:  Good | Film:  Very Good)
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Feeling rather nostalgic and inspired, I managed to dig up this old picture of myself with my favorite toys.  It's possible that the film has struck a chord with my inner child, but I don't think that's ever been a bad thing.

Film Review: Godzilla vs the Sea Monster (Gojira, Ebirâ, Mosura: Nankai no Daiketto)

Godzilla's back, and he's hungry for some lobster meat! Taking place on a remote island with secret underground military lairs and a bunch of natives, the sea monster Ebirah is just one unique entity in this colorfully fantastic addition to Godzilla's saga.

The actual monster combat is pretty limited in this film, and what you see is ultimately short and silly. When Godzilla and Ebirah clash, they initially throw rocks back and forth at each other, like some kind of monster-sized volleyball match. When they clash again, they have a more prolonged struggle, but the cheesy rubber-suit acting often makes it more funny than exciting. And then Mothra shows up, just for fun. And, for whatever reason, a giant bird appears to claw at Godzilla's head. When all the monsters aren't doing battle, the film still maintains a very light, colorful, and campy tone as the characters explore an island that almost seems to be a mix between Skull Island and Dr. No's island. The film overall is silly, but the camp strikes a perfect level that's not too overbearing, and keeps the film evenly entertaining throughout.

The story's pretty wild; it tracks a group of energetic dudes who sail to an island and wind up facing a military nuclear weapons base, headed by an overzealous commander with a wicked eyepatch. They hook up with a hot native girl, and Godzilla just happens to be sleeping nearby; the guys come up with the brilliant idea to wake him up, so that all hell can break loose. Definitely not a great story, but it's full of endearing characters, and the plot is laid-back enough that it's easy to digest. The classic themes of nuclear warfare are touched upon, but it's hard to tell what this film is trying to say about it (if anything, really).

This film uses good, colorful, and steady photography and editing. Acting is pretty silly and over-the-top. Writing gets the job done. This production uses some cheap-looking sets, props, and costumes. Some of the special effects hold up, and others don't. The music is okay, matching the film's lightheartedness.

There's a lot to laugh at in this film, but with its campy tone and colorful scenes, it's clearly doesn't take itself seriously either. And it is pretty fun that way.

3.5/5 (Entertainment: Good | Story: Average | Film: Average)

Video Game Review: Ni No Kuni: Wrath of the White Witch

The films of Studio Ghibli have teleported audiences to fantasic new worlds, the likes of which haven't been so captivating or endearing since the glory days of Disney.  Nausicaä, Castle in the Sky, Spirited Away, Ponyo, Arietty, and so many more, have all presented fantasies full of deep imagination, myth, and emotion; with Ni No Kuni, however, the studio adapts all these same strengths into a new medium, using its full potential to allow gamers to not just see the fantasy, but to live it.

If you've seen and enjoyed the films of Studio Ghibli, then you'll feel right at home with this game; it's all designed and rendered to match the look and style of the films.  Once you leave Motorville and enter the other world, you'll become immersed in a universe full of magic, whimsey, and wonder.  It's a world populated by fairies, monsters, steampunk kingdoms, weird animal people, and majestic landscapes.  The game has its share of cuteness and its share of epicness.  Above all, it presents a vast world with dense mythology and deep storytelling; it's like a hundred times more satisfying as Ghibli's films, because it's all spread out so far and so wide, and there's always something to explore.

The game itself plays out much like other JRPGs on the market; you spend your time gathering a party, roaming around the landscape, and fighting your way through hoards of monsters with hundreds and hundreds of battles.  As the game progresses, you grow more powerful, learn new spells, find new companions and creatures, and eventually fight your way to the finale.  Grinding for experience and loot can be repetitive (especially if you're aiming for the platinum trophy and looking for those elusive alchemy ingredients), but the main story keeps things rolling pretty well.  Overall, whether playing the main quest, bounty hunting, or running errands, the game is consistently engaging, highly immersive, and incredibly addicting.

The story is great; it starts off tugging the heartstrings really hard, for its opening is quite tragic.  As the story goes on, it turns into a sprawling epic that digs deeper into the myth and history of the fantasy world; some of the revelations, especially regarding the White Witch, are pretty invoking as well.  The story is full of lovable characters; even the villains are lovable, once their motivations are revealed.  Classic themes of good-vs-evil emerge, but what makes this game unique is that it's not all swords and sorcery; the good and evil exist more on an emotional level, and most of this conflict involve fixing hearts that are broken.  It's not only a different mechanic for some of the quests, but it's also a fresh new take for fantasy fiction in general.

This game runs smooth and reliably.  It uses pretty basic graphics that emulate cell-animation (with some quality anime cutscenes on occasion).  Despite not having terribly detailed textures or renderings, the game looks great for its given artistic style.  Gameplay is quite easy, with an intuitive control scheme.  There are oodles of tutorials available, making the game accessible for young, old, experienced, and unexperienced gamers alike.  The levels and world design are pretty decent, and there is a ton of places that can be explored.  Voice-acting (for the English version) is good.  The game is written well-enough, although I think it has a tendency to over-explain the objectives and over-simplify things.  Designs for all the settings, characters, props, creatures, and everything else is highly imaginative and fantastic.  Music is really great as well.

Throughout the game, I could easily identify countless references to the Studio Ghibli films:  My Neighbor Totoro, Porco Rosso, Nausicaä - and really, the whole thing plays out a bit like Howl's Moving Castle.  Even on its own merits, however, Ni No Kuni is still a phenomenal world all on its own, filled with endless hours of addicting gameplay, emotionally powerful storytelling, and whimsical experiences.  At the time of this writing, it stands as my favorite JRPG, and it is highly recommended for gamers young and old.

5/5 (Entertainment:  Perfect | Story:  Perfect | Game:  Very Good)

Film Review: RoboCop (2014)

Chances are that you know RoboCop, even if you've never seen the original films.  The cyborg, with his distinctive metal suit and silver helmet, has been one of the most iconic cinema heroes for the past 27 years.  The first film, directed with serious energy and edge by Paul Verhoeven, is still lauded as a phenomenally entertaining classic.  Just as it is with 2012's Total Recall (also a remake of a Verhoeven film), the new RoboCop offers a flashy update with modern effects and production designs, but to remake a classic would seem like sacrilege.

While many fans have been upset over this remake, I personally expected worse.  There are a few things I found likable about the new film.  Even though the film doesn't divulge in satire as much as the original did, it does spit out a few bits of faux media that underscores issues concerning drone warfare, foreign policy, corporate greed, manipulation of the media, and technology - all of which are pretty relevant to modern times.  The transformation of Alex Murphy into a machine is a pretty harrowing sight, but once it is complete, RoboCop exhibits some interesting new abilities (including access to CCTV, wireless networks, and the complete police department database, all at a whim).  The film maintains a steady focus on the character and his family (drama that was never really explored in the original films), and Alex's internal conflict of man and machine factors into the film's most interesting scenes.

Of course, there is also plenty of action to be had.  RoboCop busts through with all guns blazing in several scenes.  At one point, he even takes on several ED-209 drones all at once.  The shootouts are loud and the chase scenes are fast.  However, the filming of these scenes tend to be erratic, and the scenes themselves don't leave much of an impact.

The story covers some interesting ground, given the focus on Alex's constant struggle to maintain human emotion within his mechanical shell, and the focus on his wife and son.  However, the plot twists can be seen coming from miles away (especially for those already familiar with the tale).  The actual conspiracy involved only makes sense to a point, but it never feels as tight or relevant as it did in the original film.  The actual plot structure seems jerky and loose, before reaching a rather flat climax.  Given the serious tone of the film, all characters are pretty lacking in personality, and it only accentuates how flat and one-dimensional they are. 

Some of the most grievous complaints about this film, however, stem from the sheer lack of edge.  This film pushes on the boundaries of its PG-13 rating, dishing out only as much curse words and violence as it's allowed to.  While a film certainly doesn't have to be hardcore-R-rated to be good, this rendition of RoboCop glosses over the violence and candy-coats things to a more unrealistic degree.  Paul Verhoeven made it a point to show violence on-screen, with extreme gore and pain, because he felt it was dangerous to shy away from those things and give audiences an unrealistic interpretation of violence.  2014's RoboCop might as well be living proof of his notion; a child is murdered in the opening scenes, but you don't see it, because of the way the film is edited and shot.  Thus, the film loses its impact, and the scene just breezes by without invoking much of a response.  The movie doesn't just gloss over the blood and guts though; it's also stripped of most of the satire that populated the original film, and I also found it odd that very little crime and crime-fighting is shown.  I mean, this is Detroit, right? Why does it look so shiny and modern? You'd never guess there was a crime problem in the film, if it wasn't for the characters talking about it.

This film is made with some pretty shaky photography.  Editing is okay, but it felt like some scenes were chopped off a little too short.  Acting won't really knock anybody's socks off; Gary Oldman easily provides the best performance of the lot.  I wasn't sure about Joel Kinnaman at first, but as he went on as RoboCop, I felt he handled the emotional and robotic sides of the character pretty well.  Michael Keaton is fine and dandy playing a slimeball character, Abbie Cornish is okay as Mrs. Murphy, didn't care for Jackie Earle Haley's character, and Samuel L. Jackson pops in on occasion to yell some stuff at us.  I really didn't care for anybody else's performance in the film, but it is notably disappointing to see that nobody has any lasting stature, especially when compared to the original film.  Writing is not that great; it's able to get things moving along, but without really filling anything with good meaning.  Occasional references and lines from the original film do little to mask the shortcomings.  This production has some slick-looking sets, props, costumes and locales.  Some of the choices (like the black RoboCop outfit, or the revamped ED-209) will not sit well with everybody.  Some of the music choices seemed really odd to me; I didn't mind the actual music score, but it seemed pretty random.

There are things I enjoyed about the RoboCop remake, but the film is not without its issues.  The most glaring of which is that it's rather watered-down.  Paul Verhoeven originally showed us a gritty world of corruption and crime where people really bled and died in the name of justice; José Padilha shows a slick-looking dramatization with a few neat ideas, but it doesn't have nearly as much weight.  It's pretty much on-par with the Total Recall remake, which also had its share of neat ideas, but was not nearly as memorable.  The best that can be said is that this version of RoboCop might be the closest thing we have to a Metal Gear Solid film.

I'd only recommend this as a rental to interested sci-fi fans.

3/5 (Entertainment:  Pretty Good | Story:  Average | Film:  Average)

Film Review: Rocky

There are those with a lot of brains and those with a lot of brawn; both paths offer their share of opportunities and temptations. For those with more muscle than smarts, the world of professional boxing may offer a viable true calling, but a shot at the title is a rare privilege. Rocky is the story of a man who's given that rare privilege, and rises to the challenge to prove that he's more than just a bum off the streets.

If nothing else, Rocky Balboa is one of the most iconic characters in cinema, and his training scenes are among some of the most iconic scenes in film history. The film's biggest action occurs at the beginning and end, with the dramatic and intense boxing matches; in between, the film focuses less on boxing and more on the drama surrounding the character. It is a compelling drama, filled with violent outbursts and pathological struggles that really help define the characters and make the story relevant. However, the film does lose its momentum in the middle, and the plot becomes a bit random before Rocky shapes up and finally fights Apollo Creed.

Despite some drag, the film does have a compelling story. Most of the film's power resides in the main character, who is a perfectly lovable good guy with a good heart, but is constantly forced to hurt people to make ends meet; when he isn't in the ring, he uses his brawn on the street. However, much of the film is about Rocky rising out of the gutter and becoming something more than what he is; on a fundamental level, the film embodies an inspirational power and thematic depth that could apply to anybody in the world. It ultimately amounts to a full manifestation of the American dream: the story of a man who defies all odds and all adversities to rise out of the lower class and fight on the same level as a heavyweight champion. It doesn't even matter if Rocky wins or loses; he proves definitively that there's more than one way to win in life.

This film is as rough and gritty as they come. The photography is solid and steady, but with some very drab and grainy color schemes. Sylvester Stallone has never had much elegance in his roles, but as Rocky, he works within his limitations and takes full advantage to give his character decent depth and nuance. I always found Burt Young's character totally unlikable, but Talia Shire is cute. Carl Weathers is not bad as Apollo Creed, and Burgess Meredith is awesome. Writing is pretty good overall. This production uses some very real-looking sets, props, and costumes. The locales are especially interesting, because they look so scuzzy most of the time, it paints a pretty grim world around Rocky, which help give his struggles more weight. Bill Conti's music score is quite iconic and uplifting.

The history of the film is pretty interesting as well, given that Stallone's own life mirrors Rocky's to a point. Much like the boxer he portrays, Stallone started off poor and obscure, but took a chance on a script that seemed like it'd be a long shot. That script turned into this movie; this movie turned into a franchise, and Stallone is still successful to this day.

Although there are parts of this film I find a bit slow, it is a compelling story that's well worth watching. It has a depth and spirit that anybody can draw inspiration from; if you have a dream that seems impossible, you can achieve it if you exercise your talents and go the distance.

Recommended!

4/5 (Entertainment: Pretty Good | Story: Very Good | Film: Good)

Film Review: King Kong vs Godzilla (Kingu Kongu Tai Gojira)

Here it is:  the most gargantuan battle of monsters anybody could come up with.  From the west, there's the massive gorilla that was worshiped by natives and went on to climb the Empire State building.  From the Far East, the giant fire-breathing lizard spawn from the atomic age that crushes entire cities.  This film unites the two iconic titans in a vicious match of pure bestial muscle power.

As cool as it all sounds, the film may inspire more absurd laughter than actual thrills.  When the two beasts collide, King Kong throws his arms around in a hokey ape-like manner, while Godzilla throws a hissy-fit and flaps his arms erratically.  In the confines of gaudy rubber suits, it looks incredibly silly.  The actual mass destruction is plentiful, but these scenes seem so few and far-between.  By the film's end (after a ridiculous scene where Kong is airlifted by balloons), the conflict just kinda fizzles out with no clear winner or loser.  It's a cheap and dated film with horrid special effects and bad costume work; even if you look past that, the execution is so weak that it can't be taken seriously.

Of course, if you don't take it seriously (and you probably shouldn't for monster flicks anyway), then it's still pretty fun.  Fans should get a kick out of the epic clash, despite all its cheesiness and flaws.

The story is pretty standard stuff; most characters exist to simply to provide a human conduit for the audience to follow as the monsters roam around.  The plot does take a few stupid turns (seriously, King Kong flying around on balloons? And since when can he grow stronger with electricity?).

This film is pretty cheap, featuring okay photography and editing.  Acting is pretty cheesy, and is made even worse with terrible English dubbing.  Writing is pretty nutty (possibly marred by the changes of the US cut).  This production uses some cheap and gaudy sets, props, costumes, model-work, and some horrid-looking compositing effects.  Music is okay.

This film has had a pretty spotty history.  For the US, parts of it have been cut out, and many new footage has been cut in, in a manner similar to Godzilla:  King of the Monsters.  I don't know what the exact changes are, but the added news reports and exposition feel quite forced, and some of the explanations given seem misinformed, and possibly biased to appeal to Americans.  Even in Japan, parts of the film have gone missing (some of which has been restored for home video releases), and the overall condition of the film has been poor. 

This film is probably best seen for watching the two titular beasts duke it out, in all their cheesy rubber-suit glory.  It's not a good film, and the story is pretty dumb (at least for the US version), but if you ever wanted to see two of the biggest and most popular monsters engaged in epic combat, this film has its moments.

3/5 (Entertainment:  Pretty Good | Story:  Marginal | Film:  Marginal)

Film Review: Only God Forgives

For much of 2013, it seemed like the movie's poster, with the dragon in neon lights, was beckoning me, perhaps even taunting me and daring me to watch this film.  Since Drive was such a big hit just a couple of years earlier, this follow up from Nicolas Refn and Ryan Gosling looked like it'd be more of the same, but fans may find that Only God Forgives is a totally different animal of a film:  many find it distasteful, weird, shallow, and just plain bad.  I would have agreed with those assessments at first glance as well, but as with most works of art (especially in film), it took a fresh new viewing to look past the initial expectations and appreciate it as it is.  This is not Drive; this is Valhalla Rising, with all the same primal brutality, but swapping out the lands of the Norse with the seedy grungy streets of Bangkok.

This film moves with a slow and brooding pace, which will strain the patience of many viewers.  For those with the patience, the film will be mesmerizing and hypnotic, thanks to the film's beautiful compositions and vivid lighting.  Despite the pacing, most scenes rarely linger, and the film is pretty short overall; I think it's actually pretty notable that the film uses just as many scenes as it needs, cutting out the excess and keeping things simple.

The story is pretty simple and small-scale, but the narrative is not easy to digest.  Few words are spoken, and when they are, they're pretty quiet and they reveal very little.  Most of the film's story is relayed best through its imagery and the characters' expressions; the burden of the pathos rests purely on the way the characters regard each other, the way they treat each other, and the way they take revenge on each other.  Paying attention to these small nuances can reveal much about the characters, but without any straightforward answers, a lot of the story is left wide open to interpretation (and many viewers would probably dismiss it all as pretentious nonsense).  As I regard the story, I believe it lays out some basic archetypes (especially on a theological level) and sets up a massive series of eye-for-an-eye conflicts that lead up to an expressionist finale.  Ultimately, the characters go on to express themes of temptation, sin, vengeance, and authoritarian terror.

All that being said, the story is hard to take at face value.  Parts of it are hard to believe, if not outright unrealistic.  Parts of it make little sense, and the finale is pretty weird.

The film is as beautiful as they come.  It boasts some superb photography and editing.  Color and lighting are extremely vivid and powerful, painting each scene with bold imagery that drives the story and gives the whole thing meaning.  Acting is notably odd; most actors are statuesque and silent, but their expressions, movements, and compositions are very nuanced.  Writing is pretty minimalistic.  This production uses some very good-looking sets, props, and costumes.  Locales are authentic.  Cliff Martinez's music score is pretty awesome and accentuates the visuals beautifully.

Only God Forgives:  it looks like the companion piece to Gaspar Noé's Enter the Void, and it feels like Stanley Kubrick.  Its narrative and pacing is not nearly as palatable as Drive, and if you're expecting something on that level, you will likely be disappointed.  But what the film lacks in narrative or straightforward dialogue, it makes up for with pure expressionism.

Since the film is so polarizing, I'd only recommend renting this film first, to see if it can captivate you the way it's captivated me.

4.5/5 (Experience:  Good | Content:  Good | Film:  Perfect)