There was always something so creative, and so liberating about playing Lego. This idea that you’re in complete control to be as imaginative and experimental as you choose, to be the king of this fantasy universe. Directing duo Phil Lord and Christopher Miller have remained faithful to this notion, creating a film full of ingenuity and innovation, and one that is, ultimately, completely bonkers.
With 21 Jump Street and Cloudy With a Chance of Meatballs already in their repertoire, Lord and Miller have mixed the fantastical, surrealistic nature of the latter, with the distinct, droll wit of the former, to produce a film that’s about as much fun as you can have during a trip to the cinema. The story revolves around Emmet (Chris Pratt), an ordinary, mostly forgettable construction worker who just blends into the background, as part of the fabric of this Orwellian society, led by the evil President Business (Will Ferrell) – who plans on covering all of the Lego people in superglue. However every evil antagonist needs a hero counterpart, and Emmet unwittingly takes on the responsibility, teaming up with Wyldstyle (Elizabeth Banks), Vitruvius (Morgan Freeman) and Batman (Will Arnett) amongst others, to save the Lego kingdom from complete decimation.
There is a brilliant wit prevalent throughout this title, as a film that doesn’t take itself seriously at all. It’s refreshingly self-aware and hilariously self-deprecating, as many jokes derive from the awkward, rigid nature of Lego figurines and their distinct incapabilities. They’re all somewhat pathetic, in the most endearing of ways. Owing a lot to Toy Story in how human objects are interwoven into their Lego universe and rebranded as something spectacular (like the superglue, for example), we’re effectively seeing this world from the naïve and imaginative perspective of a young child, and when it comes to our favourite toys from our own childhoods, there really is no other way to appreciate it.
However unlike Toy Story, there isn’t quite so much depth to the title, and although the overriding message is a profound one – as a conventional story of the underdog – it’s somewhat formulaic. Lord and Miller avoid any mawkishness though, which is always welcomed, as overt sentimentality so often drags down films that are aimed at a younger audience. This treats the viewer a little more respectfully. On a more negative note, the conclusion is somewhat underwhelming, as a plot point comes into play too early into proceedings, and detracts from the impact of the grand finale, taking you out of the story somewhat, and making it difficult to return. Nonetheless, The Lego Movie looks mightily impressive up on the big screen, using CGI effectively to resemble stop-motion. Though it takes a short while to get used to the unique (and extremely colourful) visual aesthetic, it works a treat.
Clear from the fact that our antagonist is somebody who insists on organised, segregated Lego, not appreciating the playful, ascendancy it can offer children, this film appeals to the more happy-go-lucky of Lego users. Certainly likely to appease those riddled with nostalgia, as much as it will entertain a younger crowd, the only real shortcoming to be taken away from The Lego Movie, is that you’ll need a form of hypnotic therapy to get the theme tune of “Everything is Awesome” out of your head. Despite the fact that, as far as this film is concerned, everything truly is.
[Rating:4/5]
