Constructing a clever comedy requires a lot of bright component parts, and I suppose even Henrik Ibsen would marvel at the master builders behind this month’s blockbuster sequel! Veteran animator Mike Mitchell’s The LEGO Movie 2: The Second Part (B+), wisely written by the original film’s writer/directors Phil Lord and Christopher Miller, is a deft deconstruction of the walls governing plot and pacing. The result is a madcap bricks-and-mortar tour de force filled with hilarious highjinks, industry in-jokes and winning life lessons to be enjoyed by all ages. Chris Pratt (two roles), Elizabeth Banks (heroine) and especially Tiffany Haddish (shape-shifting emerging villain) shine in voice roles as the heroes face “Ar-mom-ageddon,” basically becoming toys thrown in the storage bin. The film blasts its ensemble of heroes and superheroes from a Mad Max style dystopia to an outer space world, with time travel and live action thrown in for good measure. It’s a pretty great musical too, following up “Everything is Awesome” with a variety of enjoyable new tunes including an earworm called “Catchy Song.” Just when you think you know where the plot is going, the creators have a few more bricks up there sleeve. There are so many great throwaway lines and creative gags that this second part may require a second viewing.
M. Night Shyamalan’s Glass (B) could also be called Superhero Erased as the always fascinating Sarah Paulson plays a conversion therapist to humans who believe they have superpowers. She turns her attention to a trio introduced in two films now considered the opening salvos of the “Eastrail 177 Trilogy”: Mr. Glass (Samuel L. Jackson), The Overseer (Bruce Willis) and The Beast plus his 23-member Horde (James McAvoy). Spencer Treat Clark, who played Willis’s son and Charlayne Woodard who played Glass’s mom in 2000’s Unbreakable and Anya Taylor-Joy as the abducted teen with a touch of Stockholm Syndrome in 2016’s Split round out the primary players in this mystery/thriller oddly devoid of quite the twists and turns the director usually has up his sleeves. Shyamalan puts the puzzle pieces together with joy and precision 90 percent of the time and a bit of clumsiness in the margins (his cameos in his movies, for instance, are almost always stupefyingly bad). The central trio of oddities each gets to showcase a brilliant bag of tricks, with Willis embodying silent heroism, Jackson devilish masterminding and McAvoy a whirling dervish of over-the-top schizophrenic characters. The pacing loses momentum in the denouement, but even a prolonged sequence which begs “get to the point already” gets ultimately explained. There are knowing references for devotees of the first films and enough soap opera twists and turns to catch up newcomers to the series. For a film called Glass, it could use a bit more sharpness and clarity. Although far from perfect, it certainly falls into the recommended works by this director.
This is the third film in what is unofficially called the Eastrail 177 Trilogy. See also these reviews of the other films, which were a bit better but together make an interesting observation about heroes and humanity: Unbreakable Split