The Emoji Movie turns out to be less huge than initially believed by Sony Pictures. As we all know, it went as far as becoming a Razzie winner icon of awfulness. Even if not a huge success, I’m sure Sony at least thought it’ll eventually be much like how Disney often thinks The Computer Wore Tennis Shoes is a “classic,” but the movie’s massive lack of care to how phones work proves this won’t even reach that point. Heck, it says Smiler was the original emoji… which is wrong! The Museum of Modern Art says so!
Not that anyone from the producers’ seats would give a hoot about the facts, just that they’ll get temporary success based on appealing to what gullible kids want to see.
The animators think much that same way, from a “Just Dance” sequence where the three lead characters boogie their way out, to its obtrusive 3D objects as the camera moves abnormally, the film’s true identity as a corporate product turns obvious by these creators who just want to get things done with and go home. Even worse, the theme of its commercial incorrectly says emojis are the most perfect invention to communication; that argument shouldn’t be expected to pass authenticity if the main cast pack their vocabulary with countless puns including, “be the ‘meh’ you were ‘meh-nt’ to be.”
The main character of this crashed malware, Gene, gets called a freak for laughing publicly since he as a “meh” emoji is supposed to feel nothing but “meh” all the time. Then he’s off on a quest outside of his home, Textopolis, to obtain a new programming. He’s got a sidekick named Hi-5 who does zip-nada besides pure obnoxiousness, and another named Jailbreak who gets too much screen time, more than that of Gene’s parents. These beings inside the phone include a “loser lounge” for underused emojis, and a tavern with viruses, spam, and [literal] trolls; as much as those details try to compare our phones to ourselves, the attempted creativity means nothing… because that’s not how interspace works.
Now cinema, being technology, literally becomes our own makeup of human nature, so there’s much influence that this film will still leave, even if it’s mostly negative. There’s at least a cute little creative touch of pasting Instagram filter sunglasses on the Columbia logo to open up Gene’s journey of purpose. Then on his first day at work, he learns popularity means people turn angry at him, as people have a reputation for. Case in point: it’s addressed here how in the first emoji set, women can be either a princess or a bride; it’s wrong, but at least some social commentary is, um, attempted. Amongst the innerweb, Hi-5 strives to find a new home outside Textopolis while other brief moments show some visual decency; that includes a whale breeching in Spotify to signify calmness before familiar cinematic peril.
Now, let’s take a look inside an American computer, this one in particular. The lazily designed emojis (the “thumbs up” one has a six-pack, for crying out loud) say hashtags throughout conversations, and they carry as little charm as the shockingly not-so-cute donut babies in their momma donut’s stroller. Outside of the computer, there’s the failed depiction of today’s middle school students, none of which pay attention to a lame hieroglyphics lesson—because it’s apparently not as cool as when Hi-5 acquires a sugar rush from excessive amounts of candy!
Sony ultimately praises all social media highly to the point where illegal activity is where they cross the line. Anything else, be it bowing down to a screen then sacrifice eye-to-eye contact, is okay with them!
It’s better to recommend a movie that proves the harm of social media by keeping away from glamorization of self: The Social Network. Or better, there’s Searching, a study on how the internet is both our greatest blessing and greatest curse. Neither of these works of art talk down to you like The Emoji Movie does to press a Marxist mindset. Maybe that wasn’t even their intention, but because Sony’s production crew established no end goal, the little amount of focus draws the objectionable conclusion that inanimate objects drive our world. Heck, there’s so little focus, the crowded atmosphere along with the sloppy editing stops you from even getting a good look at anything!
At least a year and a half later, Ralph Breaks the Internet became a slightly better version, even if it still pretended to discuss the internet dangers when simultaneously embracing the princess stereotype—despite claims otherwise. Now, there’s something that Disney and Sony have in common! Anyhow, listen well: You could use technology as a tool to ease friendly interaction, or feed your own ego. The latter option is taught by the extra-long commercial that is The Emoji Movie, thus, it’s highly advisable to pick option number one.
If there is a specific movie you’d like to see graded, or if you are interested in guest blogging for my site, please email me at Trevor@TrevorsViewOnHollywood.com for your recommendations.
Have a great weekend, and happy watching!
The Emoji Movie. Sony Pictures Animation. Web. <http://www.theemoji-movie.com/discanddigital/>.
Fandango Staff. “'THE EMOJI MOVIE' STAR T.J. MILLER EXPLAINS WHY THE MOVIE ISN'T WHAT YOU'RE EXPECTING.” Digital image. Fandango. 16 May 2017. Web. <https://www.fandango.com/movie-news/the-emoji-movie-star-tj-miller-explains-why-the-movie-isnt-what-youre-expecting-752285>.
Galloway, Paul. “The Original Emoji Set Has Been Added to The Museum of Modern Art’s Collection.” MoMA. 26 Oct 2016. Web. <https://stories.moma.org/the-original-emoji-set-has-been-added-to-the-museum-of-modern-arts-collection-c6060e141f61>.