For a generation of millennials, those of us who came of age in the 1990s, Space Jam has miraculously accrued a nostalgic fixation. Michael Jordan starred alongside cartoon favorites and we all learned valuable lessons about teamwork. The soundtrack also, as the kids say, slapped, with that titular banger welcoming us to the jam and the R. Kelly eponymous ballad, “I Believe I Can Fly.” Flash forward 25 years, and a new basketball superstar is looking to relaunch the franchise and reinvigorate the Looney Tunes pals for a new generation. Lebron James plays a fictionalized version of himself struggling to connect with one of his sons. He wants the boy to take basketball seriously but worries about his commitment and thinks video games, the child’s true passion, are a distraction for him. He and his son get sucked into the “server-verse” of Warner Bros. studios thanks to an angry A.I. (Don Cheadle) who just wants respect. The scornful A.I. challenges Lebron to a basketball game while tempting Lebron’s son to the dark side. Lebron teams up with Bugs Bunny to reunite the classic Tunes to put together a winning team.
This movie is clearly not intended for adults but at the same time it feels engineered from their references. Are children going to understand William Shatner impressions? Parodies of The Matrix, or Mad Max: Fury Road, or Casablanca? To that end, I question if we’ve come to a point in popular entertainment where the Looney Tunes characters have been eclipsed. When I grew up, cable television, let alone channels devoted to entertaining children, were just beginning in the 1980s, so I did grow up with classic cartoons from decades prior. I knew about Bugs and Daffy and Tom and Jerry and Hannah Barbara and the old guard. Modern American children have grown up with a generation of original cartoons and programming and I would argue they have more nostalgic reverence for shows like The Fairly Odd Parents, Gumball, and other popular Cartoon Network originals. I strongly doubt that the majority of the movie’s stated target audience, children, have any emotional investment or recognition for the old Looney Tunes characters. Perhaps the entire Space Jam sequel is designed to reignite interest in a certain younger demographic, and this wouldn’t surprise me as its real source for existence. To be fair, the original 1996 Space Jam was created to sell sneakers, so it’s not like this is out of step for the franchise’s integrity.
The conception of this movie is less about Lebron James interacting with the classic Looney Tunes characters than Lebron James being the spokesman for a catalogue of Warner Bros. intellectual property (IP). What children are sitting around saying, “I can’t wait to interact with all my favorite Warner properties?” Children do not think like this, they don’t segregate into tribes for different corporate masters. They like what they like and don’t think about whether its corporate parentage is with Disney or Viacom or whatever. Space Jam: A New Legacy feels less like a story or even a movie and more like a catalogue launch for the Warner Bros. gift shop (get your Grandma Matrix sweaters just in time for the fourth movie coming out these holidays!).
The intermingling of different worlds and properties can be done, see The Lego Movie, but more needs to be done other than transporting characters into a world they do not belong. Watching Granny perform moves from The Matrix isn’t funny because what is even being set up for comedy? It’s not a tweaking or commentary on the original, nor is there any recognizable comedy angle; it’s what Family Guy typically does – repeating the scenarios but with different faces. There is a key difference between reference and parody (a point I have discussed at EXTENSIVE LENGTH in my reviews of the very bad Friedberg and Seltzer spoofs). Nobody cares that much about these characters that just seeing them in a different environment is enough. Watching Wile E. Cayote as one of the War Boys in Fury Road is not enough, and I absolutely adore that movie and consider it an instant classic, but if I wanted to just watch Fury Road, I would gladly just watch Fury Road (they do not even call it “Furry Road,” come on!).
By far, the most confounding part of this new Space Jam is the decision-making process over what IP should be included and what should be excluded. I would be fascinated to watch a documentary series just on the creative clashes with studio execs. There are some bizarre choices selected to attend the culminating basketball game as rowdy spectators. I can understand memorable figures like King Kong, Dorothy from the Wizard of Oz, the Iron Giant, and the Scooby Doo van. Those are immediately recognizable for modern-day children. However, why is Jim Carey’s Mask character there? Why is the grotesque Danny DeVito version of the Penguin there? Why is the Night King from Game of Thrones there? Why is Pennywise the Clown, a vicious and frightening character, there? Why are the droogs from A Clockwork Orange there? Who is that supposed to appeal to? Why would anyone in their right mind include a gang best known for wanton violence and rape to be faces in the crowd to cheer on a basketball game? It would be akin to taking the hillbillies who rape Ned Beatty in Deliverance and placing them side-by-side with cartoons for a movie intended for children. If the droogs and Pennywise made the cut, what inappropriate characters from the vaults of Warner Bros. were denied? This fascinates me.
I also have problems when Bugs and the other Tunes step into the third dimension. Characters that were intended for two-dimensions always look awkward when transported into a three-dimensional realm. It was a smart move keeping the cartoons as their standard hand-drawn selves in the original Space Jam. When the big basketball game commences, the Tunes and James are pulled into three dimensions and the characters do not look good. The circumference of their heads and how it relates to their mouths moving looks all wrong. Bugs looks like a Mylar birthday balloon that has somehow gained sentience. This extra step is likely meant to appeal to modern-day audiences who have turned their noses on more traditional hand-drawn animation in feature films (Tangled and Frozen began as 2-D animated films before going to 3-D). It’s another curious case meant to modernize the Looney Tunes and appeal to a younger demo, and yet it runs counter to so much more of the programming choices and contradictory decision-making.
Is Space Jam: A New Legacy a good movie? Quite simply, no, but then by objective standards neither was the original Space Jam. Lebron James may still be trailing his Airness in a few more NBA records but King James has more natural charisma and acting ability than Jordan who settled as straight man/pitch man. There is an occasional joke that earned a laugh from me, the best being the bait-and-switch reveal of Michael Jordan returning to the Tune Squad, which also seems to imply that Sylvester the cat is kind of racist. I liked Lil’ Rel. Congrats also to the filmmakers for bringing back Lola Bunny, having her voiced by Zendaya, and realizing she can just be a lady bunny good at playing basketball. The original Lola Bunny was hyper sexualized and I’ve already read too many comments from dregs on the Internet upset this new rabbit doesn’t make them feel funny in their pants (“IF I CANNOT OBJECTIFY THIS CARTOON RABBIT, THEN WHY AM I EVEN WATCHING A MOVIE INTENDED FOR CHILDREN?”). The moral or message is pretty simple about accepting others for who they are and not how you demand, which is weirdly exemplified in a cross-generational conflict where Lebron will not allow his son to play video games because his coach growing up thought they were a waste of time. As if he’s only allowed to play basketball with every waking and sleeping second of his existence. Lebron grew up in the late 90s when video games were mainstream and great. His son is an obvious game design prodigy, but it will take him the whole movie to see.
Feeling like the unholy IP orgies that were Ready Player One and The Emoji Movie, the Space Jam sequel (or reboot) feels more like a catalogue launch or a streaming channel opening its vast archives for ready-made consumer consumption. There are several moments where I just shrugged and said to myself, “Well, that happened,” like Granny doing her fancy Matrix moves or Porky Pig battle rapping. I think the idea of Lebron helping the classic Looney Tunes characters in another wacky edition of basketball would have made for a suitable children’s movie. The original only focuses on the Looney Tunes and gets by. For whatever reason, the studio execs insisted to the six credited screenwriters (pity them all, and the sixty un-credited) that this serve not as a franchise relaunch but as a corporate portfolio branding showcase. The movie gets lost in the shuffle from all the haphazard and contradictory impulses to see this through, turning from the game of basketball into decades-past-their-prime Austin Powers jokes. Regardless, Space Jam: A New Legacy is less new and more everything Warner Bros. owns the rights to in the past that they would like to remind you about. Watch it all now on HBO MAX, folks!
Nate’s Grade: C-