Directed by Phil Lord and Christopher Miller
Written by Phil Lord and Christopher Miller, Story by Dan Hageman, Kevin Hageman, Phil Lord, and Christopher Miller
Starring the Voices of Chris Pratt, Will Ferrell, Elizabeth Banks, Will Arnett, Nick Offerman, Alison Brie, Charlie Day, Liam Neeson, Morgan Freeman
Hey guys, did you know that everything is awesome? That everything is cool when you’re part of a team? Everything is awesome, when you’re living the dream! Indeed it is, especially when that dream is turning the bastard child video series of a multi-million selling construction toy into one of the greatest movies to be released in recent memory.
Emmett (Chris Pratt), a completely ordinary LEGO mini-figure who lives his life like everyone else–according to the instructions–is identified as the most “extraordinary person” and the key to saving the Lego universe. Emmett and his friends go on an epic journey to stop the evil tyrant, Lord Business (Will Ferrell), whose evil plans to ensure order in his world with a powerful weapon threatens to freeze the entire LEGO realm in place–forever! As a prophecy about ‘Special’ comes true with the discovery of ‘Piece of Resistance,’ Emmett must tangle with the likes of Bad Cop (Liam Neeson), Micro managers and ‘Man from upstairs’ during his journey to save the world.
I both love and hate the reactions I get when I list The Lego Movie as one of my favorites. I love feeling like Emmett by the end of the film, with my mind opened to a knowledge and understanding that some people haven’t reached by embracing it as more than a fun time for kids, and I hate it as well, because people just need to recognize. The Lego Movie has everything any moviegoer would ever want: hella good performances by established and seasoned actors, beautiful animation, tons of laughs, and well-plotted story that sinks its teeth into the biggest philosophical questions there are.
The secret to the film’s incredible fortitude is the creative talent behind the “camera,” namely producer Dan Lin, who originally conceived the project, directors Christopher Miller and Phil Loyd, and animation supervisor Chris McKay. Together, these four men were able to push a corporate-driven production into realms of storytelling bliss that is becoming harder and harder to find among tentpole cinema.
Taking place in a Lego world that is as complete as it is imaginative, the animation appears incredibly lifelike–to the point where most viewers don’t realize they are watching something that is totally computer animated. Everything on screen is composed of virtual Lego blocks, from the buildings and vehicles to even the water, fire, and clouds. Every character is an authentic Lego figure, only able to move in ways the actual toys can, a stark contrast to the cheaply-produced straight-to-video entries from the decade prior, where everything moves in bizarre, rubberized ways. This is all thanks to the creative team, who sought to harken back to most well-known Lego fan films of the 20th Century, like Journey to the Moon or The Magic Portal.
It is in this homage to the most small-scale, independent filmmaking possible that The Lego Movie shows its true heart, by turning what has always been a business model, or in the sad case of The Magic Portal a corporate shutdown of the little guy, into a deep tale of the relationship between freedom and order. As McKay explains,
“We wanted to make the film feel like the way you play, the way I remember playing. We wanted to make it feel as epic and ambitious and self-serious as a kid feels when they play with LEGO. We took something you could claim is the most cynical cash grab in cinematic history, basically a 90 minute LEGO commercial, and turned it into a celebration of creativity, fun and invention, in the spirit of just having a good time and how ridiculous it can look when you make things up. And we had fun doing it.'”
Emmett’s journey through the narrative only heightens this, weaving threads of Joseph Campbell’s analysis of heroic myths into a film that projects the age-old conflict of the freedom of chaos versus the social contract, represented in bombastic, childlike form by the likes of Morgan Freeman’s Vitruvius (literally the Renaissance Vitruvius), and Will Ferrell’s Lord Business (subtle). In addition, Emmett’s vision of the outside world and the “Man Upstairs” is highly evocative of Plato’s cave allegory, and when Emmett finally reaches the outside, the meta-textual nature of the film really takes off.
Of course, the philosophizing is sandwiched into a film who’s first priority is entertainment, and watching the filmmakers play in several sandboxes worth of sets, haphazardly yet intelligently weaving together everything that makes the Lego toyline so unique and fun is quite the treat. The actors take their cues from the filmmakers, injecting whimsical spontaneity into their performances that always has me grinning from ear-to-ear. Who wouldn’t be giddy at the prospect of Will Ferrell playing the ultimate universal evil, or Morgan Freeman as blind wizard who’s sensitive about being called old?
When it comes down to it, The Lego Movie is one of the best films of the 2010s already, by far. It’s sheer entertainment value props it up above the usual summer drivel, and its themes of cosmic purpose and the value of personal liberty manage to stick it to the man while he simultaneously makes money off of the message. If you still can’t make it through a whole viewing, maybe it’s time to leave adulthood in the trash can and give it another go, because if Lord Business can be stopped by the wonder of a child(man), than you can too!