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The Emoji Movie 2017

The Emoji Movie 2017

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Children should not be allowed to watch The Emoji Movie. Their impressionable brains simply aren’t set up to sift through the thick haze of corporate subterfuge clouding every scene of this sponsored-content post masquerading as a feature film. Adults know enough to snort derisively when, say, an anthropomorphic high-five drops a reference to popular smartphone game Just Dance Now (available for purchase in the App Store, kids!), but young children especially are more innocent and more vulnerable.

The Emoji Movie is a force of insidious evil, a film that feels as if it was dashed off by an uninspired advertising executive. The best commercials have a way of making you forget you’re being pitched at, but director Tony Leondis leaves all the notes received from his brand partners in full view. The core conceit apes Tim Burton’s The Nightmare Before Christmas, where a spirited misfit hops between self-contained worlds styled in a single recognisable way. Instead of holidays, however, our hero here jumps from app to app, and the ulterior motive of pumping up download numbers drains every last drop of joy from Leondis’s efforts to enchant.

The director wants us to think of Textopolis, the bustling city inside our smartphones, as a world of pure imagination. When a meh-face emoji named Gene (TJ Miller) is banished from his home for daring to express an emotion other than unimpressed nonchalance, Leondis takes his odyssey of self-discovery as an opportunity to imagine fantastical scenery. As a smiley-face emoji (Maya Rudolph) ruling Textopolis with a cheery iron fist tirelessly hunts him down, Gene gapes in awe at such marvels as a supercharged rollercoaster ride through raw data and a pixelated humpback whale that majestically glides over him. But because these glossy images are so nakedly in service of plugs for Dropbox and Spotify, it’s all but impossible to appreciate any incidental beauty they might possess.