The Emoji Movie
WHEN future cultural historians look back at the annals of early 21st-century cinema history, there will be much cause for reverence. Equally, however, there will be time devoted to a handful of incidents where Hollywood types decided that digital or gaming interfaces would surely have no trouble crossing over into cinemas.
For anyone over the age of 70, emojis are the small smiley faces and characters used in phone text messaging to do the job language once did. They have been deemed so “now” as to justify throwing millions of dollars and a bevy of talent at a film adaptation because that’s what the world needs right now. Behind this thinking is the very same lack of regard for consequence and taste that elects reality TV stars to government or ejects nations from financial markets. It’s been signed-off on – what now?
Here’s what: A cinema release perhaps without equal this year in terms of how shockingly dreadful it is.
A series of crimes are committed, from the conceptual (the drearily dull premise of a “magical” world of product-placed apps within your smartphone) to the executional (a dispiriting lack of effort in the comedy writing, cringefully obvious characterisations).
Then there’s the bleating, babbling inanity of the dialogue and core voicing cast that features TJ Miller, James Corden and Patrick Stewart as, in what you can only hope is an example of wry synecdoche, a talking turd.
First published in the Sunday Independent