“Life doesn’t give you seat belts.” The LEGO Batman Movie

[Image Source: Wikipedia]

[Image Source: Wikipedia]

“Everything is (almost) awesome” in The LEGO Batman Movie, a spinoff from the 2014 surprise critical and box office hit The LEGO Movie. While LEGO Batman never quite achieves the warmhearted, dizzyingly progressive whimsy of its predecessor, it compensates with a bonkers absurdity that wouldn’t have been misplaced in a Road Runner cartoon.

Will Arnett returns to gravelly-voice the titular anti-hero, a Trump-esque (by way of Alec Baldwin) billionaire egomaniac whose idea of a good time is fighting (alone) an endlessly looped (and loopy) war on crime where the criminals never actually get locked up and the Batman soaks up a debatably earned shower of community accolades.

Arnett is a one-note hoot, and the filmmakers (director Chris McKay working with a mixed grab-bag of screenwriters Seth Grahame-Smith, Chris McKenna, Erik Sommers, Jared Stern, and John Whittington) wisely supplement his singular focus with a sweet-natured supply of supporting characters.

Cast MVPs include a sparklingly feminist Rosario Dawson as Barbara Gordon (later dubbed “Batgirl,” who quips to Arnett, “Does that make you BatBOY, then?”), a gleefully earnest and utterly over-caffeinated Michael Cera as Dick Grayson (relishing every glimmering, discofied sequin of his admittedly peculiar but comic book accurate “Robin” costume), and a dry-as-a-martini Ralph Fiennes as Bruce Wayne/Batman’s dutiful, shaken-but-not-stirred majordomo Alfred Pennyworth.

Like The LEGO Movie (and just about any children’s movie made. ever.), The LEGO Batman Movie posits a primary thesis that family is everything, even if that family is made up of a collection of well-intentioned, mentally-suspect oddballs (so it’s a fact-based film). Arnett’s Batman comically resists any and all overtures by his friends (and enemies) to connect, collaborate, and love, driven in part by a lightly-touched-upon reference to Batman’s origins losing both of his parents to a gun-toting mugger in Gotham City’s aptly named “Crime Alley.” Alfred cautions Master Bruce, “You can’t be a hero if you only care about yourself.”

This sets up a tortured bromance between Batman and his (sometimes) chief nemesis The Joker, voiced with consummate crazed sweetness by an unrecognizable Zach Galifianakis. The Joker just wants Batman to acknowledge that they have a special bond, but the Dark Knight’s cuddly sociopathy prevents him from admitting that they truly need each other. “I don’t currently have a bad guy. I’m fighting a few different people. I like to fight around,” Batman dismisses a lip-quivering, weepy-eyed Joker.

The Joker then sets on a path to flip this script, bringing a spilled toybox rogues’ gallery of delightfully random villains (King Kong, Harry Potter‘s Voldemort, The Wicked Witch of the West and her Flying Monkeys, The Lord of the Rings’ Sauron, Steven Spielberg’s Jaws, Dr. Who‘s Daleks, Clash of the Titans‘ Medusa and Kraken, Jurassic Park‘s velociraptors, Dracula, Joe Dante’s cinematic Gremlins, and a bunch of glowing skeletons) to destroy Gotham City, reclaim Batman’s attention, and re-establish their dotingly dysfunctional affection for one another.

What made The LEGO Movie such fun was its childlike ability to (s)mash-up incongruous genres (and intellectual properties), much like little boys and girls do with their actual toy collections, wherein it might not be uncommon for Darth Vader, Lex Luthor, and Barbie to team up against Captain America, He-Man, and Papa Smurf. It was nice to see this bit of anarchic, cross-promotional foolishness continue from one film to another.

For middle-aged comic books buffs, there are Easter Eggs galore. We get obscure Batman villains rarely seen in print, let alone film (Calendar Man? Crazy Quilt? Zebra-Man?!). There is a SuperFriends house party, hosted by Superman (Channing Tatum’s adorably frat boy-ish take on the character continued from The LEGO Movie) at his “Fortress of (Not-So) Solitude” complete with a DJ-ing Wonder Dog, a groovy Martian “Dance”-hunter, and an “It’s a Small World”-esque conga line of Apache Chief, Black Vulcan, El Dorado, Samurai, and the Wonder Twins. Perhaps most impressively, The LEGO Batman Movie manages to telescope nearly 80 years of Bat-history (comics, television, film) into a handful of nifty and very funny montages, simultaneously justifying LEGO’s iconically cracked take on the character while honoring all that has come before.

Upon Robin’s first joy ride in a hot rod-drawn-on-the-back-of-a-Trapper-Keeper version of The Batmobile, Batman turns to him, with his nails-on-a-chalkboard growl, and warns, “Life doesn’t give you seat belts.” And that is likely the most important message in these LEGO movies. Life is going to hand you a lot of lemons, so use your imagination and your inherent sense of joy to keep things fulfillingly messy … and, along the way, feel free to pour lemonade over the heads of anyone who tries to make you follow their arbitrary rules. Make your own rules, and break them freely and often.


From my personal collection. Yes, I’m nuts.

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital).

In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan.

My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Now THAT was fun! The Hobbit: The Desolation of Smaug

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

Last year I just wasn’t that nuts about the first installment of Peter Jackson’s planned fim trilogy adapting J.R.R. Tolkien’s The Hobbit. You can revisit my ire here.

And I stand by these words, “If I feel the original [Lord of the Rings] trilogy – where one film = one book – seems a bit padded, you can imagine my distaste for having The Hobbit broken into a wallet-gouging three films.”

HOWEVER, the second installment – The Desolation of Smaug (seriously? these are the best titles you can come up with, Jackson? I guess Attack of the Clones was taken) – is a rip-snortin’, jolly good time.

All the ponderous and self-satisfied back story and set up has been dispensed with in the first film, so the cast and crew is free to let the Errol Flynn-esque, Saturday morning serial freak flags fly. The film is a good thirty minutes too long and suffers yet again from a terribly unsatisfying non-ending ending.

Yet, all of the players are clearly having a ball and that carries over to the audience experience. Benedict Cumberbatch (is he everywhere this year?!?) steals the show – without ever showing his face – as the voice and motion-captured physicality of the titular villain, the dragon Smaug. The very theatre rumbles with his presence, and you can’t (and dare not) look away for a moment.

The rest of the cast acquits themselves nicely amongst the manic proceedings which involve some nonsense about reclaiming a mountain and finding some shiny jewel thing. Martin Freeman comes into his own as our central protagonist Bilbo Baggins, capitalizing on comic sympathies garnered during the first outing.

Ian McKellen is fine but a bit underused in a confusing subplot that involves Orcs, a cheesy looking castle, and the film series’ Big Bad (Sauron). I greatly enjoy Richard Armitage as the brooding Thorin – just when I as an audience member feel totally exasperated by the shenanigans onscreen, he seems to be as well and grounds everything with a sneer and a sidelong glance. Heck, I even like Orlando Bloom this go-round, which is saying something as watching him is typically akin to watching paint dry for me.

New to the series, Lee Pace, Ryan Gage, and Stephen Fry are welcome additions, with Fry bringing an almost Dickensian whimsy to his role as a sleazy mayor of a floating fishing village that makes Popeye‘s Sweethaven look like Metropolis. Luke Evans also adds a fine level of swashbuckling gravitas to the key character of Bard who helps our intrepid band reach the final leg of their interminable journey.

I happened to see this one in Jackson’s much-vaunted “high frame rate 3D” which, once you get past the nauseatingly hyper-crisp visual clarity, completely immerses you in Tolkien’s Middle Earth. It’s like watching a soap opera/video game hybrid … on the sound stage where it’s being filmed with the actors spitting and sweating in your face in real time. Lovely, eh? Not sure I completely recommend it, but it’s worth experiencing … once.

In sum, the film is fun escapist fare with a shot of adrenaline that reminds us why movies can be such a joy. I have no idea what I saw, and I won’t remember 80% of the plot tomorrow … and I don’t much care.