Movie Review

The LEGO Movie 2: The Second Part makes for a manic outing

When The LEGO Movie came out in 2014, it was an unexpected blast of pure joy. Written and directed by Phil Lord and Christopher Miller, its combination of whimsy, creativity, and heart made it one of the best animated movies of that year. Following a couple of less appealing sidetracks into showcases for Batman and Ninjago, the LEGO franchise has come back home with The LEGO Movie 2: The Second Part.

Unfortunately, the world that Emmet (Chris Pratt) and Wyldstyle (Elizabeth Banks) now inhabit is not as awesome as it once was. In fact, it has gone apocalyptic, thanks to an ongoing war with an alien race known as DUPLOs. The ever-optimistic Emmet makes the best of the situation, but Wyldstyle, Batman (Will Arnett), Unikitty (Alison Brie), MetalBeard (Nick Offerman), and more are on constant alert for more attacks.

One such attack comes from General Mayhem (Stephanie Beatriz), who kidnaps a handful of people at the behest of Queen Watevra Wa’Nabi (Tiffany Haddish), who has a nefarious plot in mind. Emmet must try to overcome his inherent non-combative nature to rescue his friends and stop the plot from coming to fruition.

As the LEGO franchise has gone along, it has gotten increasingly manic. The reason the first film worked so well was because it had a coherent story that enhanced the crazy and creative ways the filmmakers used LEGOs. Now, it seems that they’re content with creating enough chaos and referencing enough other pop cultural touchstones to distract audiences from the fact that they don’t really have a good story to tell.

The first film ended with the surprise discovery that everything we had been watching had been the imagination of Finn (Jadon Sand), who dared to play with the LEGO collection of his father (Will Ferrell). They’ve made things significantly less mysterious in The LEGO Movie 2, as the sibling rivalry between Finn and his sister, Bianca (Brooklynn Prince), is integrated into the film as a whole. The trouble is that their squabbles are not that interesting and also that any time spent with them distracts from the fun with the LEGO characters.

And, to be fair, just spending time with those characters continues to be a blast. When the filmmakers, which includes Lord & Miller as writers and director Mike Mitchell, keep things to a low roar, the charm and humor of the individual characters comes through loud and clear. Even when things are at top speed, enough of the gags land so that you can get the flavor of the cleverness they’re trying to impart.

The song “Everything is Awesome” played a big part in the first film’s success, and they’ve gone all in with the music this time, almost turning it into a full-fledged musical. None of them are the equal of that Oscar-nominated tune, but the aptly-named “The Catchy Song” and “Super Cool” make the biggest impressions.

You can’t really fault Lord & Miller and their team for going all out in an attempt to entertain us, but The LEGO Movie 2: The Second Part is more of an exhausting experience than a truly enjoyable one. It’d be nice if they could go back to basics, but now that the LEGO beast has been unleashed, keeping things simple is an unrealistic expectation.

Emmet (Chris Pratt) and General Mayhem (Stephanie Beatriz) in The LEGO Movie 2: The Second Part.

Emmet (Chris Pratt) and General Mayhem (Stephanie Beatriz) in The LEGO Movie 2: The Second Part.

Photo courtesy of Warner Bros. Pictures

Emmet (Chris Pratt) and General Mayhem (Stephanie Beatriz) in The LEGO Movie 2: The Second Part.

Movie Review

Teenage Sex and Death at Camp Miasma gives horror a surreal twist

Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma

Photo courtesy of MUBI

Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.

The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre - the slasher - that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.

Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.

Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death - a transgender person who has an air conditioning vent as a head/mask - may not just be a character created for the movies.

Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.

But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.

The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBT people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term La petite mort, which means “the little death,” is a euphemism for orgasm).

Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference - Norma Desmond from Sunset Boulevard - to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.

While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.

---

Teenage Sex and Death at Camp Miasma is now playing in select theaters

Loading...