[♪ Singing ♪]
[“Character Dialogue“] BATMAN [V-O]: “And logos.
Really long and dramatic logos.” After The Lego Movie’s logos were over in 20 seconds,
a minute’s worth feels longer then ever. But, major props for actual humour in the
first minute. CAPTAIN DALE: “This is Macguffin Airlines.” Macguffin Airlines. Between that, the logo mocking and
the Michael Jackson bit, they’re pulling no punches. All the rain and wind around the plane. Whereas The Lego Movie was still
in a child’s room, well, basement, this is a fully digital realistic world.
And here there’s no doubt it’s all CGI. More on that later, but for now,
the artists’ work must be commended. So the doors rip off, but other then loose debris,
all the crates stay in the plane? Uh huh. JOKER [V-O]: “The Riddler -”
[Riddler cackles] JOKER [V-O]: “Scarecrow; Bane -”
BANE: “Hello!” JOKER [V-O]: Two-Face; Catwoman -”
CATWOMAN: “Meow meow, you’re in! Meow meow -” JOKER [V-O]: “Clayface; Poison Ivy;
Mr. Freeze; Penguin -“ Just giving a rogue’s gallery of villains to us
and letting us enjoy them on their own merits. More of it, I say. PILOT: “…okay, are you making some of those up?”
JOKER: “Nope, they’re all real. Probably worth a Google.” This shouldn’t surprise you, but yep, they
are all real. It’s perfect for being an exaggeration of the silly,
with all those dumb villain names. CHIEF O’HARA: “All the C-Grade villains
have broken into the energy plant –” Well, it’s not all of them
if Egghead was egging the Bat-Signal. JOKER [V-O]: “- Gotham City.”
KILLER CROC: “I did something!” Suicide Squad had only been out for six months
at the time. And Warner allowed this. Suicide Squad will take time to recover from that roast. Lego Movie footage within this film. Otherwise it’s easy to judge the films
in their own separate universes. But with this, it gets confusing. Having the hero take on most of the
rogue’s gallery at once and win easily; I always associate that with The Powerpuff Girls,
and I just realised, I have yet to discuss that favourite of mine
on the channel. Must do that sometime. Anyway, it’s fun to watch and a way of showing
how Batman would be detached with his status quo. ♪ Who has the tricks outride ♪
♪ Batman ♪ With the song and the various villains, recognisable
and obscure, yup, this montage rocks pretty hard. JOKER: “Who else drives you to one-up them the way that I do?” BATMAN: “Superman.”
JOKER: “Superman’s not a bad guy!” This gag sold the trailer, folks. Even without Dawn of Justice, they are enemies,
as far as competing for the attention of fans. Joker being sad like an ignored wife
at Batman not taking their rivalry seriously is a good way to freshen up their relationship. But, this Joker ain’t up to much.
Zach Galifianakis doesn’t leave an impression. While the script has many nice one-liners for him, a lot fall flat as a result of him
just reading the lines normally. He doesn’t even have a Joker laugh.
Where’s Mark Hamill when you need him? It’s especially annoying given the other
four main cast members are outstanding. The film can have its cake and eat it too,
regarding tackling the hero-villain rivalry and mocking it for being only mildly removed
from a romantic relationship. After all, one usually obsesses over the other more. Forty-three timer seconds take a
minute-and-a-half of real-time film time. A minute always results in timer missteps. A couple of those kids already got merch from Batman. ♪ Feel this forever, let it carry ♪ This film has just enough pop songs
not used especially well to call attention to that fact, given the songs that do work.
Shame. But I can ignore that with all the “cool” moments
showcased here that transcend objectivity. Having a slower pace after the hectic opening
is all well and good, but it’s the first of many points
where the film starts dragging. This is a pretty stock “joke dragged out enough
to go to not funny and back to funny” gag, but what makes it is the beautiful lighting. The rotating shadow on Batman’s cowl highlighting his
childlike seclusion, it’s there because the artists cared. This moment underscores what really,
really, makes Batman. It’s that, in a way, he’s committed to continuing to suffer to bring justice
to the world and his parents’ memories. The film doesn’t insist on this thread,
but it’s as vital as him being unwilling to open up to others and potentially
suffer the pain of loss again. This joke – as great as it is –
moves a bit too fast for maximum effect. Most of the opening third’s gags endure
being tossed off super-quick, but not here. Also, they missed 1993’s Mask of the Phantasm. [whispering]: We don’t talk about
The Killing Joke round here. Being too obscure isn’t an excuse,
given the Adam West one is 51 years and counting. Maybe I’m partially annoyed because the 90’s animated
Batman is the best Batman, but there you have it. Cape from nowhere.
Bringing that up once, and leaving it at that. [hair squelches] Can I say I love the way his hair
squelches back to normal when he takes the cowl off? It’s just this side of being too mad to do. Beginning with the Phantom Zone,
the film starts to forget to parody the elements it uses,
playing them straight instead. So the choir instructor doesn’t chase after
future-Robin when he abandons it? Uh huh. I really dig how the film always portrays the relationship between Batman and Barbara Gordon as laughably
dumb. So the title is in English, but everything else
is an illegible scribble? I don’t… DICK GRAYSON: “Do you think you’d be interested
in adopting me as your future orphan son?” Michael Cera finds the right tone of fluttery innocence,
and runs with it. Robin is written kind of one-note,
but his vocal delivery helps a lot. BARBARA: “- Not a Batman.” BATMAN: “Waiter.”
WAITER: “Sir.” [gulping down water] [spits]
BATMAN: “What?!?” Not only does Batman commit to this bit, there isn’t
even any liquid to drink. That just makes it. It’s hard to pinpoint when the film loses its edge. For me, it begins here and trickles downwards
until it stagnates in the back half. JOKER: “I… “surrender.” He always wants to get captured, to play a mind game
with his enemies. Surrendering is one way to do that. CITIZEN: “It’s the end of crime.” Well, there’s still ordinary criminals. Just because
all the villains are gone doesn’t mean the end of crime. ♪ One is the loneliest number ♪ From the colour, or lack thereof, to the appropriately-used song that was even used similarly in this lonely montage hits the funny and sincere balance. BARBARA: “Why don’t you and I work together
to figure out what he’s up to?” Joker’s interrogation didn’t work
so well in The Dark Knight, and that happened in this universe,
if the pilot is to be believed. PILOT: “What about that time with the two boats?” So how did that adoption work?
Not that I really care, just seems awfully convenient. ROBIN: “It’s the Bat… shark-repellant?” Obscure yet hilarious Adam West
Batman references don’t get much better then that. Helps that it is useful later. This bit about finding Robin a costume,
a lesser film would dwell on longer then needed. Neat how this breezes by once it has had its fun. If only the whole film followed that principle,
but you get my drift. BATMAN: “To the Batmobile!”
[60’s Batman transition music] It’s not the film’s fault that transition is so overdone.
And it’s a fair reference. But that doesn’t change the fact that it
is overdone. BATMAN: “I’ll make sure that Alfred
puts seatbelts on there.” Bit of a change of pace, buddy.
Not nearly as dangerous as what you’re about to do. This is basically the point where the film
stops being a parody while remaining comedic. Apart from leaving me with less to say,
it results in bits of tedium like this. GREEN LANTERN: “Sometimes I don’t get
Superman’s emails for… years.” As long as they never overindulge with these “Channing Tatum and Jonah Hill as Superman
and Green Lantern” jokes, they’ll keep working. So the pictures become cel-shaded automatically?
How does that work? I assumed it was a later-done conversion process. How can Batman see what Robin’s doing on that?
Seriously, how? BATMAN: “Now, do everything we just did backwards.” Wouldn’t that mean running backwards
into the kryptonite mines that were chasing him? Could have just said to escape the way he
came in. Superman should definitely hear them
through the open door. Assuming none of the rest of the Justice League do. ‘PUTER: “That feeling is pride, sir.” Isn’t the joke with Batman’s computer
that it’s just Siri? She voices it, after all.
Shouldn’t be able to respond like that. Why is Batman bringing Robin to Arkham? He hasn’t warmed up enough for that,
don’t see why he wouldn’t drop him off home first. Watch Robin’s reactions throughout.
Totally worth it, folks. Where was the projector earlier?
Yeah, hammerspace; Shoot me, folks. So the weapon detector doesn’t pick up smoke bombs?
Ain’t that convenient. Not a very secure prison if many of the inmates’
cell doors are open, me thinks. BATMAN: “I think you’re underestimating the
importance of the Joker being in the Phantom Zone.” What happened to Batman’s witty responses?
That’s line so stiff and ordinary. What’s King Kong doing here? He’s not a villain.
Even against Godzilla, he was the “good” monster. I don’t want to say it was cross-promotion for Skull
Island, but considering the release date proximity… Wasn’t this guy a Master Builder in The Lego Movie?
Search me what he’s doing here. Wasn’t Zod put in here earlier? I could be missing him,
but a villain that notable shouldn’t be just an extra. Joker’s plan hinged on Harley Quinn
going undercover in Arkham. What if Barbara had noticed Harley wasn’t among
the surrendering villains and connected the dots? Just saying. Well that news got up bloody quick,
the portal literally just opened. They let Condiment King keep his… condiment guns? JOKER [V-O]: “British robots! Ask your nerd friends!”
DALEKS: “EXTERMINATE!” Not that nerdy. The Daleks have saturated pop culture
enough that just about anyone would recognise them. SAURON: “It’s beneath Wayne Manor.” JOKER: “Are you trying to tell me,
that Bruce Wayne, is Batman… …‘s roommate?” You know what’s better then Batman
denying to be Bruce Wayne? Others not realising he is,
when it’s right in front of them. [Batman beatboxing, Robin rapping] Amusing little relaxation moment amidst all the action.
I’ll give it that. BATMAN [gasps]: “The Bat-Fax!” A fax machine got through the detector? I’d stamp Arkham’s security detector
‘reject’ and ship ’em back East. BARBARA: “- you’ll never be able to defeat them alone.” All the ‘teamwork’ preaching gets to be
too much. when it’s done right, but all the mushy scenes
in the back half just blend together. The cell layout’s changed. Poison Ivy was on the
far left two levels above Batman’s cell. Here, she’s on the far right of that level. BATMAN: “Get a bunch of criminals together to fight the criminals? That’s a stupid idea.” Well, not stupid, but it needs the right execution. Okay, I won’t do anymore
Suicide Squad bashing, I promise. Even with all the banter, the action is…
rarely boring, but rarely amusing either, at least in this stretch. In a Lego film,
that has to count as a disappointment. So some of the gremlins didn’t get blown off
when all four engines were taken out? The lengthy fake-out where Alfred fades into the mist,
they almost had me for a moment. The film defied my expectations. At no point does Batman reel himself and Robin in.
He just goes from trailing behind the ship to… not. ALFRED: [semi-realistic gun noises] I never gave all the characters making
gun noises credit, but Alfred takes the cake, because it’s a less cartoony sound,
which makes it funnier. You can split this film in three. Firstly, it’s high-speed parody,
mocking everything at a dizzying speed. Then, it’s a proper Batman film,
but still a hilarious comedy. And then it turns sappy and warm and fuzzy.
The modular shifts aren’t handled well, and so the sentiment is one of two things
that drains a lot of energy. The other thing is the action plot.
Once Joker gathers all these external villains – – all ones Warner owns, I might add,
which seriously undermines their credibility as being the greatest villains ever –
the film turns into a Spot the Reference game. It worked for that one Star Wars bit,
but it can’t hold as a narrative spine. Using the villain references for that long
almost turns it into a branding commercial. I like how the Scuttler acts like a sad puppy,
trying to move up to him before he shoos it away. Even Computer is trying to get into his life. They even do the thing
with the Joker and the hall of mirrors. Well all these villains literally appeared
from nowhere. JOKER: “You have never, once, said the words:
‘I hate you, Joker.’” In 78 years worth of comics, he must have said those
four words at least once, or a rephrasing of them. [Phantom Zone Secretary grunts]
[Batman yelps] The heck did they just say? BATMAN: “”No, I was trying to protect them!”
PZ SECRETARY: “By pushing them away?” PZ SECRETARY:
“Are they really the ones you’re protecting?” Is this the essence of Batman’s character? Hard to say. But it’s one of the things I think of about him, and the
filmmakers agree with me. So bravo for highlighting it. So the Phantom Zone Secretary
can not only scan memories, she can also see outside this dimension?
Uh huh. ‘PUTER: “But he didn’t say to not not rescue him.” That’s a triple negative, so two of them would cancel
each other out, making ‘He did say to not rescue him.’ So, Computer didn’t find a loophole,
she flat-out disobeyed Batman. BATMAN: “I was afraid… of feeling…
the pain… you feel… when you lose…
someone close to you.” Will Arnett can do sincere through that gravely voice. Fair play. I’ll give kudos to the film
for playing this part straight. When did Batman even establish all these signals? He came straight from the Phantom Zone
to save the three. On that, how did the rogue’s gallery get out of Arkham?
And so quickly, Batman only just flipped up the signal. SCARECROW: “We saw your signal,
and we came to help!” Though that is clearly Scarecrow talking,
that’s not his voice. Not even close. SCARECROW: “Pizza delivery?” Did the ADR folks forget to swap out the scratch track? ♪ Never gonna give you up, never gonna – ♪ Robin rick rolls Batman. I’m torn on how I feel about that,
though I like they kept it to audio. Positive or Negative Karma… how about both? BATMAN: “This music is filling me with rage.
Let’s use it!” Great that the film bookends
with comedic fight scenes against a host of bad guys with an out-of-left-field choice of music. The film races through it’s Third Act. Because of the slower pacing we’ve been in for so long,
it doesn’t help the way it should. BATMAN: “Together, we’re gonna
punch these guys so hard, words describing the impact are gonna
spontaneously materialise out of this air.” Best moment in the film. Seriously. Alfred, played by Ralph Fiennes, didn’t even get to share
a scene with Voldemort. This is the real rick rolling. What a way for the climax to conclude.
It finally matters that they’re Legos. About time. Many of those villains had already
resolved to help Batman. What are they doing loitering back on the Joker’s side? In a minute of the chasm widening,
it moves only a few Lego characters’ width. Talk about super-special-awesome convenient. [heroic fanfare] Have to give credit to Lorne Bafte’s score. He knows when to parody and when to play it straight
more consistently then the main staff, and there’s the right amount of
Batman callbacks in the score too. Sunrise and sunset is easier to
work with in a computer, but that doesn’t stop it from being
genuinely beautiful and effective. BATMAN: “Sometimes losing people is part of life.
But that doesn’t mean you stop letting them in.” Convenient none of the villains saw Batman briefly
unmasked, showing up mere moments later, isn’t it? Why does the projector up and vanish?
Build me curious. On that note, they’re really dragging out
this “dramatic effect” thing, having Batman slowly ascend rather then
just change dimension in a flash. Batman floats diagonally away. When he’s released,
he falls straight down… to be caught by Batgirl. Physics goof, folks. Doesn’t the Phantom Zone Secretary
want Joker back in there too? Harley Quinn and Poison Ivy appear
when they weren’t there before. The other criminals forgave Joker pretty easily.
Like, really easily. Unless there was some soft of off-screen apology,
I’m not buying it. ROBIN: “Oh hey, can I play the song I wrote for the end credits?” BATMAN: “That is a hard pass.” ♪ My best friend ♪
♪ My best friend ♪ Kind of is a hard pass.
Ends up being a bit too cheesy for me. Guess the filmmakers decided to mirror
this shot for some reason, given Two-Face’s burnt half had been his left otherwise.
Just give me a moment, and… there we go! This film is way too long. More then by my usual “trimming here and there would help”. Needs to be a good fifteen minutes shorter at least.
Mostly by cutting some of the tedious action plot, though some overdone sentiment should go too.
Tongue-in-cheek works like these need delicate pacing. All that complaining for a film I still really enjoy!
The script’s clever and witty, the jokes work, and the background gags will make repeat viewings for
some. And the four main leads are funny and sincere. Even if the film does still leave me timid for the
future Lego films, this is still a really solid film. Especially, though not exclusively,
for Batman aficionados. And credit has to be given for the film
actually resembling the older, lighter, family-friendly-if-not-family-geared Batman
that basically hasn’t been a thing since the Tim Burton Batman.
Our current era needs takes like this. On the visuals. Some meaning has been lost, as there’s no reason for all this to be Legos,
even if it does lend the right humour to the project. O’HARA: “- but all I’m getting is this hold music.” [musical score coming from phone]
O’HARA: “I love it.” I wouldn’t mind, if there hasn’t
been a reason before, but there was. But, the visuals do work. Tons of detail everywhere, and while it can be a bit fatiguing, it’s worthwhile,
all the way down to the scratch on Batman’s cowl. And the elaborate and wacky fight physics
are still funny from seeing Lego figures
move like action film characters. Minus thirty. Though some unfocused ambition keeps this back
from being great, it’s still really good.