Last week, Pitchfork delivered a scathing review of Benson Boone’s performance at Coachella, raising the provocative question of whether the music medium itself is worth the effort when faced with subpar offerings. This inquiry can similarly be applied to the cinematic landscape, particularly in the case of A Minecraft Movie.
Examining the Audience and Plot
A Minecraft Movie appears to cater to an audience that is, quite frankly, nonexistent. Who exactly is clamoring to watch a film centered around a video game that celebrates creativity, only to find Jack Black and Jason Momoa portraying characters that feel more like washed-up relics than engaging protagonists? The narrative is disappointingly thin, and if one finds enjoyment in a ten-minute setup where Jack Black narrates a convoluted backstory involving a betrayal of a friend and a political figure, that’s a personal choice. However, it raises eyebrows that such a lengthy exposition is necessary for a film based on a game known for its simplicity and creativity.
The film’s plot revolves around two siblings navigating their estrangement while being drawn into a world that feels more like a collection of memes than a cohesive story. With characters like Danielle Brooks’ estate agent Dawn and Momoa’s Garrett, who tries too hard to project coolness, the film struggles to find its footing. Emma Myers’ Natalie attempts to guide Sebastian Eugene Hansen’s Henry toward maturity, but the sibling dynamic feels forced and unoriginal. It’s a classic brother-sister bonding tale that somehow required the input of five writers, resulting in a narrative that feels overstuffed and generic, leaving both children and adults yearning for something more engaging.
Critique of Genre and Execution
Proponents of A Minecraft Movie may argue that it is merely a children’s film and therefore not held to the same standards as more serious cinema. However, this defense falters when one considers the plethora of exceptional children’s movies available, from Pixar classics to How to Train Your Dragon. The film also inexplicably incorporates musical elements, as one cannot cast Jack Black without expecting him to sing—albeit in a manner that feels more desperate than entertaining.
Moreover, the film seems to borrow heavily from the tropes of every coming-of-age story in Hollywood, stripping away the unique identity of the game. The gender dynamics presented are troubling, with boys embarking on adventures while girls are relegated to building houses and caring for animals. This dichotomy feels outdated and echoes the recent Jumanji films, raising concerns about the direction of future family-friendly content.
Ultimately, A Minecraft Movie presents itself as an IP cash-in devoid of heart or originality. It feels as though it has been crafted by a committee, with little regard for creative spark or humor that resonates with today’s digitally-savvy youth. While it may not earn the title of the worst film of the year—thanks to the existence of The Electric State—it certainly leaves much to be desired in terms of storytelling and engagement.
