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The film isn't necessarily political, but it is a powerful commercial for a toy that links generations.
Emmet engages in standard action movie hijinks before falling off the edge of the Lego universe and landing at the floor of a basement, where it is revealed that he is not just engaging in action adventure hijinks: instead he really is just a toy in someone else’s giant Lego model.
It is in these final 20 minutes that the real conflict of the movie is revealed: all of the Legos in the movie are actually the toys of an eight-and-a-half-year-old boy named Finn who it turns out has invented the creations and story lines that have been expressed in full glory on film. Farrell does not play with his Lego creations, he builds them according to the instructions and displays them in pristine fashion. Farrell does not approve of Finn taking the preexisting sets and making “hodge-podge” spaceships and ruining his perfect dioramas.
But as Will Farrell sees what his son has created, he realizes that he actually has amazing talent.
Like all toy companies, Lego understands its commercials have two audiences: the children who want to play with the toys and the parents who hold the purse strings and need to be convinced to part with their money. In advertising terms: the film needs to present a compelling value-proposition to the parents. Advertising aficionados often cite one particular 1980s AT&T ad as the platonic form of this proposition. And at that moment of parental despair, the answer appears: a cell phone which will let the mother conduct the business she needs to do from the beach while still playing with her daughters, able to have it all.
To the extent that the film does have a politics it is not a politics that is primarily about freedom and liberty, or capitalism and conformity, though those themes do play a part.
What is great about the move, IMHO, is the first hour or so of simple madcap, real kid-like play juxtaposition and imaginative fantasy. I was the first kid in my school to have Lego blocks, having brought them home from a trip to visit Omi in Germany in 1959. Agree with Philly Lawyer about how appealing is The Lego Movie’s zany, creative side. And if the worst thing this movie does is encourage fathers to spend time building Legos with their kids then this should be considered the best movie of the year.
The fact is that the movie was good, clean fun for families without all of the painful body jokes or sexual innuendo that now permeates the typical fare from Dreamworks or the politically correct drech Disney now produces (wait, do we have a parapalegic transgendered black character in this movie about a Chinese princess?
My kids left the movie, went home and tore into their legos and built all kinds of crazy things. If you are crazy about Action movies with much of great action then American Ultra is one of the best movie for you.
The Film Society of Lincoln Center announced details today for the upcoming film series, Foxy, The Complete Pam Grier (March 15-17). Programing Associate Josh Strauss said, “An icon and fiercely spirited screen presence who was the feminine face of urban cinema in the 70s, Pam Grier inspired that genre’s mainstream success.
Born on May 26, 1949 in Winston-Salem, North Carolina, and raised in Denver, Colorado, Pam Grier was spotted by an agent at a beauty contest in Colorado Springs, who invited her to come to Hollywood and try her hand at acting. Following appearances in HIT MAN (1972) and BLACK MAMA, WHITE MAMA (1973), Grier gained notice in Jack Hill’s COFFY (1973) as the title character, “the baddest one-chick hit-squad that ever hit town”.
Grier solidified her status as a film star throughout the 70s with a string of films including SCREAM BLACULA SCREAM (1973), SHEBA, BABY (1975), BUCKTOWN (1975) with Fred Williamson, FRIDAY FOSTER (1975), and GREASED LIGHTNING (1977) opposite Richard Pryor. Grier continued to work in both film and television throughout the 90s with memorable appearances in John Carpenter’s ESCAPE FROM LA (1996) and Tim Burton’s MARS ATTACKS (1996). A buxom bad girl named Blossom (Grier) is the rough-and-ready girlfriend of a radical guerrilla leader named Django.


Modeled after THE DEFIANT ONES and giving birth to the highly successful AIP women-in-film genre, Grier and Margaret Markov play two escapees from a Manila prison. Pam Grier will take the stage to discuss her storied career, illustrated by clips from some of her most audacious and unforgettable performances.
In the sequel to ESCAPE FROM NEW YORK, a catastrophic earthquake hits Los Angeles, causing the valley to flood and turning a portion of California from Malibu to Anaheim into an island.
When her government-agent boyfriend is shot down by members of a drug syndicate, Foxy Brown (Grier) seeks revenge. Loosely based on the life story of Wendell Scott, the first African American stock car racing champ, this seldom seen comedy stars Richard Pryor as Scott, who hones his craft transporting moonshine in the backwoods of Virginia. Following the wild success of BLACULA, AIP financed the release of this sequel with classically trained actor William Marshall reprising his role as vampire Prince Mamuwalde. In her last role as part of her three-film deal with American International Pictures, Grier’s Sheba returns to her hometown of Louisville, KY to confront thugs who are trying to intimidate her father into dissolving or handing over his family business. According to Alyssa Rosenberg of ThinkProgress, it “asks us to consider what we’re losing out in that homogenization” of the movie industry. Emmet, a regular Lego construction worker, is swept up in a conspiracy to overthrow Lord Business, the evil overlord of all the Lego realms who despises creativity and seeks instead to literally superglue all the different Lego realms into place. But the amazing Lego creations don’t actually belong to Finn, they belong to his father played by Will Farrell. In the most hilarious part of the film, Farrell defends his actions by claiming that the Legos are no longer “toys” when he uses them.
It turns out that Lord Business’s plan to superglue all the Lego sets is actually Farrell’s plans for his sets, and Finn has dramatized this motivation in the fictional Lord Business. When he discovers that he is losing the respect of his son and has been made into the villain of the story, he reverses his super-glue policy: he and his son reconcile and the father agrees that Finn can now play with his Legos as long as he lets his little sister join in as well.
A working mother is about to leave her children with a babysitter and no one is happy with this arrangement: the children are making a mess, and the mother would rather spend time with them anyway. There is nothing in the final 20 minutes of the film that could not have been presented in one minute and 30 seconds. It’s a politics of how, through the magic of plastic, families can be strengthened and fun can be had by all.
But I didn’t mind the so-called social statements, as it made the movie endearingly geeky and thinky. Screening at the Walter Reade Theater (165 West 65th Street) and the Elinor Bunin Munroe Film Center (144 West 65th Street), and highlighted by the attendance of Grier at several screenings, the film series includes such fan favorites and notable classics as THE BIG BIRD CAGE (1972), COFFY (1973), ESCAPE FROM LA (1996), FOXY BROWN (1974), and GREASED LIGHTNING (1977), as well as JACKIE BROWN (1997) featuring her Golden Globe and SAG Award nominated performance in the title role. She has continued to serve as a muse and inspiration for many filmmakers since, culminating in her critically lauded turn in Quentin Tarantino’s classic noir, JACKIE BROWN. She subsequently moved to Los Angeles and began taking acting classes while she worked as a switchboard operator for American International Pictures.
The next year, she cemented her status as the undisputed queen of urban cinema as the high-class prostitute out for revenge in Hill’s FOXY BROWN (1974). The 80s were highlighted by FORT APACHE, THE BRONX (1981) with Paul Newman, the Ray Bradbury classic, SOMETHING WICKED THIS WAY COMES (1983), and the Steven Seagal actioner ABOVE THE LAW (1988), as well as regular turns on the television via Michael Mann’s “Crime Story” and “Miami Vice”. However, it was Quentin Tarantino’s JACKIE BROWN (1997) that offered the actress an opportunity to play a character tailor-made for her unique brand of strength and charisma, resulting in the best critical notices of her career as well as her first Best Actress nominations for both a SAG Award and the Golden Globes. They persist even after being told to back off by their superiors, putting themselves and Nico’s family at risk.
Vigilante style, Coffy takes on the LA thugs responsible for her sister’s downfall, posing as an African American bombshell in need of a fix.


Now deemed the city of sin, anyone who does not fit the mold of LA’s outspoken Christian theocrat president are imprisoned on the island for good. This rollercoaster ride of twists, turns, comedy, drama, and action is brought to life by a stunning cast that includes Robert Forster, Samuel L. Mamuwalde is resurrected by the vengeful son of a dying voodoo queen, angry at being passed over in favor of the queen’s adopted apprentice Lisa Fortier (Grier). In fact, the film does not deserve an Academy Award nomination for Best Animated Picture, it deserves a Cannes Lion Grand Prix–the award given to out to the best in advertising. The original “Dove Evolution” ad showed how Photoshop distorts commercial products and spoke to the desire for authenticity in the marketplace. At a time when our politics is wrestling with the question of how to achieve family stability and promote lives that have meaning when communities are weaker: that paean to domestic stability really does transcend political ideologies. Even some of the crazy mish mash reminds us adults of how we used to combine different kinds of toys in our own made up world stories and adventures and scenarios, otherwise, what are Batman, and Shaq ( and the other 2002 NBA All Stars!
And some of the throw away visual stuff is great too, many of it presented on the edge of the screen, with no attention being called to it all. Soon after, she had made it onto the big screen in BEYOND THE VALLEY OF THE DOLLS (1970) and BIG DOLL HOUSE (1971).
Roles in the thriller IN TOO DEEP (1999) and Jane Campion’s HOLY SMOKE (1999) immediately followed, as well as a reunion with Carpenter on his film GHOSTS OF MARS (2001). All screenings will take place at the Film Society of Lincoln Center’s Elinor Bunin Munroe Film Center, 144 West 65th Street (between Broadway and Amsterdam).
With the help of another new inmate, Blossom and Django go up against a tyrannical warden to stage an explosive breakout. Duke calls in his group of strong men to take on the corrupt local police department who are attempting to shake the couple down for money. The prince recruits Lisa to make him mortal using voodoo magic, but the plan goes awry when her boyfriend’s life is put in jeopardy. Chrysler’s “imported from Detroit” series addressed the existential angst rooted in the decline of America’s manufacturing base. On the big screen, Grier has most recently been seen in Tom Hanks’s LARRY CROWNE (2011) and Rza’s THE MAN WITH THE IRON FISTS (2012). Joe movies attempt to take slightly absurd character designs and translate them to live action. Open) — a decade before Arthur Ashe.The 90-minute documentary reveals the highs and lows of this remarkable athlete whose life and achievements transcend sports and have entered the annals of African American history. From her roots as a sharecropper’s daughter in the cotton fields of South Carolina, to her emergence as the unlikely queen of the highly segregated tennis world in the 1950s, her story is a complex tale of race, class and gender.In recounting Gibson’s story, the filmmakers were meticulous in finding period imagery, including over 450 vintage photographs. Producer and director Rex Miller weaves this archival visual material and interviews with those who knew Gibson, such as former New York City Mayor David Dinkins, Wimbledon champions Dick Savitt and Billie Jean King (who also serves as one of the film’s executive producers), Jeanne Moutoussamy-Ashe, widow of Arthur Ashe, and more.People often cite Arthur Ashe as the first African American to win Wimbledon (1975). He was indeed the first African American male to win the men’s singles title, but it was, in fact, Althea Gibson, who was the first African American to cross the color line playing and winning at Wimbledon (1957 and 1958) and at the U.S. Stephanie Mahet is editor, Francois Reumont is director of photography and Theo Caris is sound. Susan Lacy is American Masters series creator and executive producer.American Masters is made possible by the support of the National Endowment for the Arts and by the Corporation for Public Broadcasting.



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