A Review of the Minecraft Movie (2025)

      A Minecraft Movie, 2025.

      Directed by Jared Hess.

      Featuring Jason Momoa, Jack Black, Danielle Brooks, Emma Myers, Sebastian Hansen, Jennifer Coolidge, Rachel House, Matt Berry, Kate McKinnon, Jemaine Clement, Valkyrae, Jared Hess, and Jens Bergensten.

      SYNOPSIS:

      Four outsiders are unexpectedly transported through a mysterious portal into a strange, cubic realm where imagination reigns. To return home, they must navigate this world while embarking on a quest alongside an unexpected crafting expert.

      After siblings Henry (Sebastian Hansen) and Natalie (Emma Myers) unknowingly stumble upon the Overworld, a place where everything from buildings to animals is block-shaped, Henry unleashes his childlike genius to construct elaborate structures, reminiscent of gameplay in the mostly plotless, sandbox video game Minecraft, while his sister struggles to keep up. She lashes out, calling him a constant failure in the real world—a verbal outburst she quickly regrets—insisting that none of it makes any sense. Her character essentially serves as a stand-in for viewers who approach Jared Hess’ A Minecraft Movie with little prior knowledge.

      However, despite my lack of experience with the game, I have absorbed one thing through cultural osmosis: its purpose is to inspire and nurture creativity in children and teens, an understanding that Jared Hess possesses. This isn’t to claim the movie is of high quality, but recognizing this aspect is rare among video game adaptations. It’s commendable that this film engages in a dialogue about why the games are beloved and addresses the misconception held by parents (in this case, an older sister caring for her younger brother while still grieving their mother) that playing is a waste of time that dulls their minds, failing to see that the game is fundamentally about imagination and player expression.

      The heavy-handed punishment of deleting a child's Minecraft world serves as an exaggerated consequence that fails to engage with the game itself or the value derived from the world-building experience. It represents an abrupt, irreversible loss of something one-of-a-kind, typically impossible to replicate, leading to the devastating feeling of losing an entire universe. Sure, it’s digital, but it was created with care by a person.

      Unfortunately, Jared Hess doesn’t get to delve deeply into this theme as one might envision, as it seems he and his crowded screenwriting team (Chris Bowman, Hubbel Palmer, Neil Widener, Gavin James, and Chris Galletta) are pressured to cram every frame with Easter eggs and references, resulting in CGI-heavy visuals that feel overdone. This is exemplified by Jack Black’s portrayal of Steve, the default avatar from the game’s inception, whose hyperactive antics come off as self-indulgent and grating, reminiscent of someone excessively caffeinated shouting random locations, objects, and enemies at you first thing on a Monday morning.

      While it may sound like a harsh critique given that players are meant to project their identities onto avatars, Jack Black’s portrayal is simply unbearable. This misuse of star power serves merely as a ploy to elicit easy laughs from fans, fittingly underscored by a scene occurring in a wrestling ring that leaves the audience bewildered. They won’t be confused (most elements are self-explanatory), but rather in awe of the abundant fan service, while potential interesting characters and ideas remain unaddressed.

      Additional characters include Jason Momoa’s faded gaming legend Garrett “The Garbage Man” Garrison, a boastful fool on the verge of losing his gaming store. By chance interactions with Henry, he also finds himself in the Overworld, hoping to uncover treasures to alleviate his financial troubles. His character's initial comedic incompetence in a fantasy realm while failing to collaborate adds some humor, yet like various elements in A Minecraft Movie, this aspect quickly becomes tiresome.

      This action-driven adventure features numerous explosions reminiscent of a Michael Bay film, albeit lacking in visual excitement due to the overly bright and commercialized imagery that washes out the colors, resulting in a film that appears unappealing. Although there are notable aesthetics and design efforts, it ultimately feels like a missed opportunity for more practical effects. There is a lack of wonder or cinematic magic, as it’s evident that all participants spent considerable time in front of a green screen. Occasionally, a moderately engaging sequence, such as a high-speed chase in a minecart powered by a unique energy source, emerges, but it often feels insubstantial.

      Also among the main characters is Dawn, a real estate agent who helps Henry and Natalie settle into their new home. Juggling multiple jobs to make ends meet, including one with animals, proves useful when she ends up in the Overworld. She offers a consistent and humorous presence, the sole character who doesn’t verge on outright annoyance.

      Together, they embark on a quest for a magical object that will reopen a portal to take them home while assisting Steve in a battle against the Nether