![]() spent $150 million on a 25-years-later Space Jam sequel (the first barely cracked $250 million on a $90 million budget in 1996), but the money is often on the screen. The stakes for the game are inexplicably high, another example of how now every big movie has to be about essentially saving a world, but I won’t pretend that the surface-level visuals aren’t occasionally glorious. characters, mostly villains, making up the audience in attendance. ![]() Your mind may end up drifting from the game and finding solace playing Where’s Waldo with the countless Warner Bros. While I liked that James and friends are forced to compete in a version of his son’s video game, it also renders much of the gameplay entirely arbitrary and lacking in the kind of almost logical Rube Goldberg-ish humor that makes the actual Merry Melodies such a kick. Otherwise, the toons are essentially the toons, even if the Animaniacs are inexplicably confined to background attendees at the big game. Fans of the 2011 Looney Tunes episodic know that Lola (voiced there by Kristen Wiig) can be both non-sexualized and ghoulishly funny. She’s “strong” and “skilled,” but she’s also not allowed to cut loose. Moreover, this version of Lola is painfully boring and barely allowed to crack a joke. “Fixing” her implies that bad male behavior was Lola’s fault (see also: Walt Disney “fixing” Belle in the live-action Beauty and the Beast remake). Yes, she’s less sexualized in this film, but the issue with the first Space Jam was not Lola but rather how all of the other male characters treated her (in terms of viewing her entirely as a sex object). The animated co-stars provide the expected slapstick comedy.
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