The world of childhood imagination comes to life once again, this time in the art of the ninja underworld in ‘The Lego Ninjago Movie’. the battle for NINJAGO City calls to action young Master Builder Lloyd, aka the Green Ninja (Dave Franco), along with his friends, who are all secret ninja warriors. Led by Master Wu (Jackie Chan), as wise-cracking as he is wise, they must defeat evil warlord Garmadon (Justin Theroux), the Worst Guy Ever, who also happens to be Lloyd’s dad. Pitting mech against mech and father against son, the epic showdown will test this fierce but undisciplined team of modern-day ninjas who must learn to check their egos and pull together to unleash their inner power of Spinjitzu respectfully. ‘The Lego Ninjago Movie’ is directed by first-timer Charlie Bean, and is rated PG for some mild action and rude humor.
The lively innocence of the lego world is back for a third helping of childlike storytelling and imagination like only they can provide. Over the last couple of years, the lego property has given us not just exciting kids pictures, but also something that even the oldest of family members can enjoy with timely humor and visual spectrums that are second to none. This time the property takes advantage of one of their most popular toy lines, in the Lego Ninjago Force. The line itself has a television show that currently airs, and while I don’t think it is imperative that you must watch that show to get the references here, the film more than feeds into the aspects of that show, offering plenty of winks and nods to the source material. The biggest problem that this film faces is not competition from a lackluster Summer of underwhelming kids movies, but within itself and how it fares to 2014’s ‘The Lego Movie’ and 2017’s ‘The Lego Batman Movie’. To have two of these films in the same year will offer likely comparisons, and while ‘The Lego Ninjago Movie’ is still a fun dip in immersive waters, it fails to hold the consistency of its predecessors, making this the Iron Fist of the Lego film world.
Lets get the positives out of the way first, and focus on the visual presentations which once again thrill and awe us with flawless animation. A majority of this film is again used with the lego toy line, and it really never fails to amaze me just how detailed the backdrops and landscapes detail even the most minute of properties to get it all correct. What’s impressive to me here isn’t so much the visual features, which are oscar-worthy, but more in the camera work that feels like it is at its most experimental peak with the series. Considering there is so much going on with so many monsters and gigantic robots flying through the air, the camera work follows along cohesively without too much shaking camera effects to throw us off. Throughout the weaving of building and towers, you really get a sense of the urgency that carries itself in the atmospheres, and it all really just makes you wish these tiers in effects were able to be used more effectively in live action genre flicks. The color palate is also jaw-dropping, especially with the wardrobes of the characters who come across as a Power Rangers of sorts with their varying colors to represent their inner gifts.
With the setting, the setup is the same as ‘The Lego Movie’, and for anyone who saw that film you will understand the deeper intention of what is really going on here. My problem with it however, is that once you understand the real life setting of where this is all taking place and between what characters in the movie, it starts to add up how this wouldn’t be possible in such a limited amount of space. Even the widest suspension of disbelief doesn’t sync accordingly to the kind of pulled back practicality that the first film in this series showed us, and I would’ve been fine with this just being a stand alone animation film that doesn’t depend on human architects to tell its story. Aside from this, I never had a problem with anything included within this stage. Even the C.G additional work is used in such a practicality that it never overrides or feels jarringly artificial when compared to the practical properties of these toys. It proves once again that Lego is doing things with animation that serves them as the only consistent competition to Pixar at this point.
Where the film does go wrong for me is during the second act, in which we feel the sacrifice of humor for a more enveloping dramatic swing on the forefront. Up until this point, the first act was the very best intro in the series for my money, complete with smooth pacing and articulate exposition. But the second act makes us all feel the sharp turns that seven different screenwriters on the same set can push it. Too many cooks in the kitchen is one expression, but these cooks jerk this story harshly to a setting and direction in plot that make it feel like two opposing properties are being conjoined together. I certainly have no problem with a film giving us a heartfelt center, and the material for father and son is as real as anything could possibly get, but too much reliance upon that sentimentality spoils the atmosphere in which it once felt like anything could be discussed and dissected even in the name of harsh consequences. This period of the film feels so sharply dry and opposing that of whoever wrote the first forty minutes of the movie, and I wish it hadn’t tried to override so much of what made it a delightful sit early on. Does it get any better in the finale? Kind of. It’s at least back to the kind of tone that we felt in the first half of the movie, but this too makes the second act stick out even more for its jarringly compromising disposition towards the rest of the film.
On some of that comedy, there are some quick-cuts that burned deep within my enjoyment early on, but the handicaps of repetition can sometimes make this feel like a Seth Macfarlane production. If one thing is clear, it’s that this film doesn’t have the kind of endless material in satirical firepower that ‘The Lego Batman Movie’ did, but the decision to slow the jokes down to grant the viewer more time to soak everything in is much appreciated in not being rushed to the next scene. This is vital not only to the pacing of the overall storytelling, but also to the joke’s release, for when you have more time to omit the laughter that those jokes deserve, you don’t have to worry about missing the start of the next one. If you did miss a particular joke, fear not, the film will say it at least one or two more times to remind you how good it hit the first time. It feels like a friend who launched a zinger, but then burned it into the atmosphere of redundancy, each time it’s being told losing a little bit more of its offensive sting.
THE VERDICT – ‘The Lego Ninjago Movie’ might be the current black sheep in the trilogy of Lego offerings, but it’s only because the precedent set by the first two films was exceptionally high in bringing together the universes of kids and adults in the theater. The film’s biggest obstacle is overcoming too many minds coming together under the same script that can derive and contradict the film’s smooth beginning and ending, making a middle that is every bit as sentimental as it is comically dry. Even still, the artistic expression is still there, and the film’s scope in presentation snaps together like its miniature counterparts. Two films in one year might be too much for this property, and unfortunately this one takes the bite in head-to-head competition.