You can’t judge a movie by its source material: the much-maligned jukebox musical genre gave us “Rock of Ages,” yes, but it also made “Singin’ in the Rain” possible. And we were all worried about “The Lego Movie” before we saw it. So let us be clear that “The Emoji Movie” is not a soul-crushing disaster simply because its dramatis personae are the range of emotive faces and symbols that live inside your cell phone. 
 
 It is a soul-crushing disaster because it lacks humor, wit, ideas, visual style, compelling performances, a point of view or any other distinguishing characteristic that would make it anything but a complete waste of your time, not to mention that of the diligent animators who brought this catastrophe into being. 
 
 On a story level, it cobbles together pieces of everything from “The Wizard of Oz” to “Smurfs: The Lost Village” (coincidentally, Sony Pictures Animation’s prior release), and thematically it hits a tediously familiar litany of kid-movie messages: Be yourself. People can be more than one thing. Parents should support their children. Candy Crush is super awesome. 
 
 Watch Video: 'The Emoji Movie': First Trailer Reveals Hidden World In Your Smartphone 
 
 OK, that last one is a new feature, since the premise of a movie set entirely inside a smartphone has clearly opened up new potentials of product placement, whether its characters are riding boats down the musical streams of Spotify or walking through other people’s photographic memories in Instagram. As with Sony’s “The Angry Birds Movie,” this is a film that’s shameless about its origins as a pocket doodad; it also resembles that previous film by being completely shrill and stupid. 
 
 Within the phone of a hapless high-school freshman named Alex (voiced by Jake T. Austin, “The Fosters”), an emoji named Gene (T.J. Miller) excitedly prepares for his first day on the job in Textopolis. The “excitedly” part is a problem, since Gene is supposed to be a jaded “Meh” emoji, but he can’t stop himself from expressing a variety of emotions on his round yellow tennis-ball face. 
 
 READ MORE See The Emoji Movie's latest POWER MOVE. PowerRank: 1383 
 
 His professionally underwhelmed parents, played by Steven Wright and Jennifer Coolidge, worry that his propensity for feelings will get him into trouble, and they’re right: when Alex clicks on him, the scanner registers Gene making a weird nonsense face, which infuriates the perpetually-cheery Smiler (Maya Rudolph), whose face bears a constant grinning rictus even when she’s calling for “malfunction” Gene to be deleted. 
 
 Gene’s only hope is to team up with Hi-5 (James Corden) to find Jailbreak (Anna Faris), a hacker who can get them off the phone and into the cloud. Anti-virus bots are eluded and lessons are learned, but to piece together the film’s dreary plotting is to give it more thought than screenwriters Tony Leondis (who also directed), Eric Siegel and a presumably paycheck-collecting Mike White ever did. (And at least one of them will have to live with the fact that he wrote the dreadful pun, “Holy Delete-o!”) 
 
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 The unanswered questions are legion: Why do the emojis fear the phone reboot, when they’ll presumably return in its new iteration? Are they different from their counterparts in millions of other phones? Why does Gene have parents when most Americans are constantly switching to new and upgraded devices? And are we really to believe that teen boy Alex never uses his eggplant emoji? 
 
 Emotionally, we’re supposed to care about Gene and Jailbreak getting together, even though they’re so muddily conceived that we know he’s pursuing something dumb and her desires are merely vague. On top of that, we’re also supposed to be rooting for Alex to win the affections of classmate Addie (Tati Gabrielle, “The 100”), but of course his courtship all boils down to picking the right emoji to text her. Sorry Cyrano de Bergerac and Abelard and Heloise and Cole Porter and anyone else who’s ever used dumb old words to declare love; you’re nothing without a poop symbol. 
 
 The one non-dispiriting aspect of the “Emoji Movie” experience was getting to see “Puppy!”, a new animated short set in the world of “Hotel Transylvania.” When Adam Sandler outclasses your high-concept, high-tech functions, it’s time to switch to a flip phone. ||||| The Emoji Movie 
 
 Looking back, I’m going to go out on a limb and say that there was a small, flickering reason to believe that The Emoji Movie wouldn’t be a complete travesty. After all, the adorably ubiquitous pictograms that have become a second language for at least two generations are a public-domain entity; their relative recent rise makes us forget that, licensing-wise, this is no bigger a grab than Leaves: The Movie would be. It was pretty much free to do whatever it wanted within the ridiculous, cynical parameters it had set. The Emoji Movie had nothing to sell aside from itself. 
 
 But this was naïve of me, because The Emoji Movie is selling something. In the mock tradition of countless superior Pixar films before it, it’s attempting to sell a sense of childlike wonder and fascination with an ordinary, everyday object: your smartphone. And in doing so, it is one of the darkest, most dismaying films I have ever seen, much less one ostensibly made for children. 
 
 Let me get briefly more philosophical than this film deserves: Emoji remain a ripe source for humor in our everyday digital parlance, specifically because they are devoid of narrative, or even, ironically, emotion. There is a kind of poetry that has emerged from their use; an emoji is worth maybe not a thousand, but certainly a hundred words, and using one in place of words requires you to momentarily, subconsciously imagine that you are living in a language-free totalitarian state where a cry-laugh symbol is our linguistic Soylent. There’s a similar pathetic humor to the constricted movement and expression of Lego figurines, which The Lego Movie exploited to far greater effect. The Emoji Movie’s first aesthetic mistake is redesigning their titular figures to be the same kind of rubber-faced caricatures you can find in any other shrieking CGI kid-distracter on the market. Not once does this film rise above the level of humor of literally any real-world use of a simple upside-down-face emoji (whose meaning I tend to translate as “Wheeee, life is a horrible hall of mirrors and I am powerless to do anything but smile about it.”) 
 
 If only my review of this film could be an upside-down-face emoji. The laboriously literal plot concerns the “Meh” emoji (T.J. Miller, who certainly doesn’t sound like a man who’s banking his career on this film as his game changer), who is “defective” due to his ability to express a kaleidoscope of emotions beyond his regimented role. I think this is the basic principle behind the Divergent films; it could just as easily be about a commercial actor in an existential rut. To fix his defect, he teams up with the lowly high-five emoji (James Corden), who has been replaced by the newer, hipper fist-bump emoji in the hall of favorites (racial subtext abounds). Together they escape the messaging app they call home on a dream-logic mission to find a “hacker” (Anna Faris) who can take them to the “cloud” and fix Meh’s defect. Along the way, they pass through a series of familiar apps while a battalion of anti-virus bots follows them in lukewarm pursuit. At one point, the film grinds to a halt for a game of Candy Crush. 
 
 Yes, the actual IP of The Emoji Movie has nothing to do with the emoji themselves, and everything to do with the apps that have prime placement in the Google AdWords–grade narrative. Somewhat relevant to the plot is the fact that it all takes place on the phone of a 14-year-old boy, who is having text-based girl troubles somehow worsened by Meh’s poor performance as an emoji. Apparently this 14-year-old boy not only has the usual suspects on his phone (Facebook, Instagram, and Spotify all make appearances), but also, mystifyingly, the Crackle app, and extra-mystifyingly, a Just Dance mobile app that I wasn’t even aware existed before now and currently has a two-star rating on the Apple store. 
 
 There is a mumbled, shorthand moral about staying true to yourself in all this, but it is drowned out by the wall-to-wall cynicism that is The Emoji Movie’s entire reason for existing in the first place. The film runs through its list of corporate and Zeitgeist awareness obligations in dead-eyed lockstep, making sure to get in uses of the words “slay” and “shade” and lifting an entire section of the lyrics to Rihanna’s “Diamonds” to telegraph a would-be important emotional beat (it’s not a joke, I don’t think). In the end, Meh’s embrace of his animated, multifaceted self just comes off as an ad for an Emoji Movie animated-sticker set that’s probably already out there. 
 
 This is a film that seems beamed from a near future in which nothing goes right; “words,” as the kids in the film agree, “aren’t cool” anymore; and Patrick Stewart making jokes about soft shits is the new prestige TV. But what do I know? At my screening, which was for both press and a handful of unfortunate families, at the first sighting of her favorite rainbow-colored icon, a little girl behind me cried out, adoringly, “It’s Instagram!” A new age of heroes is born. ||||| 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. 
 
 Facebook Twitter Pinterest Alex, voiced by Jake T Austin, in The Emoji Movie. Photograph: Sony Pictures/AP 
 
 The pervasive falseness extends to the film’s thematic underpinnings, which make a clumsy lunge at vague, be-yourself positivity. The paramount importance of being true to one’s own spirit is made literal in Gene’s silly quandary; he’s forced to hide who he is for the sake of compulsory homogeneity, and only through tapping into his full range of emotions can he achieve his potential. While Leondis, who is gay, has stated he intends this as an allegory for the tribulations faced by the non-heterosexual community, any social commentary is stymied by the execution. The film’s insistent feel-goodery and occasional nods to feminism (delivered by a spunky blue-haired hacker emoji, voiced by Anna Faris) ring false. Product-placement mashups Toy Story and The Lego Movie had the purity of playtime to seal in the sentimentality; somehow it’s not as endearing in a film built around the apps we use to kill time while sat on the toilet. 
 
 The ruthless mercenary details take the Emoji Movie beyond simply embarrassing and incompetent into something more manipulative and contemptible. One perplexing scene finds the emoji pals all doing a synchronised dance called “the emoji bop”. In a film so desperate to sell itself, this is clearly a craven bid to go viral, the cinematic equivalent of clickbait. The script practically begs for the approval of the tweens that elevated the lowly emoji to phenomenon status, but has only the slightest notion how they talk or act. Alex (Jake T Austin), the human in possession of the phone housing Gene and the rest of the cast, speaks like an dusty oldster. Alex’s awkward courtship of the cute girl in his class revolves around the deployment of emojis, but demonstrates no workable understanding of how the icons fit into adolescent life. Watching this fogeyish hero angle for edgy relevance is as uncomfortable as reading a fast-food chain’s Twitter account. 
 
 However, the most disturbing part of this toxic film is the way it infects audiences with its ugly cynicism. A viewer leaves The Emoji Movie a colder person, not only angry at the film for being unconscionably bad, but resentful of it for making them feel angry. A critic can accept the truth that art and commerce will spend eternity locked in opposition. Nevertheless it’s still startling to see art that cheers commerce on while being stamped in the face by its boots. ||||| Tony Leondis' kid-flick tries to turn text-message punctuation into a colorful adventure. 
 
 Here's what you tell yourself when you accept an assignment to review a cartoon about emoji: "Remember what you thought when you heard about The Lego Movie? That it was the most shameless bit of advertising-as-entertainment you could imagine, the nadir of Hollywood's intellectual-property dependence, and couldn't possibly be worth seeing? Remember how incredibly wrong you were?" 
 
 You were wrong then. Given the right combination of inspiration, intelligence and gifted artists, any dumb thing can be turned into an enjoyable film. But Tony Leondis' The Emoji Movie, a very, very dumb thing, comes nowhere near that magic combination. It is fast and colorful enough to attract young kids, but offers nearly nothing to their parents. If only this smartphone-centric dud, so happy to hawk real-world apps to its audience, could have done the same in its release strategy — coming out via Snapchat, where it would vanish shortly after arrival. But even that wouldn't be fast enough. 
 
 The project's first hurdle is imagining how an emoji icon, which by definition represents only one emotional state (or object), can be a character capable of experiencing a story. Its solution is incoherent. We're told both that "the pressure's always on" for the face-emoji residents of Textopolis to keep their expressions convincing — smiley or smirking, angry or puzzled — and that they have no choice: That weeping guy keeps gushing tears even when he wins the lottery; he's just programmed that way. 
 
 The exception is Gene (voiced by T.J. Miller), a youngster preparing to take over for his old man as the face of Meh. (Who could play the elder embodiment of Blah other than Steven Wright?) We learn that free-spirited Gene, thanks to some glitch, is capable of infinite facial expressions. He has a hard time being deadpan on cue. 
 
 His first time on the job, in fact, he fails. In the film's weirdly unconvincing vision of how emojis make their way from a phone's inner universe to its screen when the user selects them, the whole process breaks down if one of the actors can't sit still for a face scan. Gene wrecks the app's game show-like stage, and eventually, the program's supervisor (Smiler, a ruthless but always-smiling woman voiced by Maya Rudolph) targets him for deletion, sending a team of mean-looking antivirus bots off to get him. 
 
 With the help of a high-five icon (James Corden, taking his position as the story's fount of unrelenting enthusiasm very seriously), Gene sets out to find a hacker who can reprogram him and eliminate unwanted facial expressions. Jailbreak (Anna Faris) says they need to escape the phone entirely to do this, getting past a tricky firewall and out onto The Cloud. 
 
 Getting there affords the filmmakers plenty of opportunities for product placement. The characters spend several minutes stuck in Candy Crush (gags about Hi-5's sweet tooth go on about five times longer than they should); they nearly die in a Dance Dance Revolution-style challenge game. At best, these episodes are limp set pieces; at worst, they sound like they were written by ad agencies. When our heroes need to ride streams of music from one place to another, one coos, "Whoa — this is Spotify?!"; when Jailbreak leads Gene into Dropbox, their pursuers can't follow them inside because "this app is secure." 
 
 The dialogue is even lamer when the pic's three scribes depict the life of Alex, the high-school kid who owns the phone Gene inhabits. When Alex wonders what to text the girl he has a crush on, his pal scowls "words aren't cool" — in a Manhattan preview where critics were outnumbered by ordinary moviegoers, nearly all of the laughter was directed at this sort of line, where three grown men try and fail to convincingly imagine how kids talk. Hell, they can't even come up with fresh-smelling one-liners about the movie's resident poop icon. (Amusingly, the closing credits identify this slumming actor as "Sir Patrick Stewart.") 
 
 Leondis and company don't get much mileage out of the vast variety of emojis they might use for sight gags, but they do well enough with the slapstick adventure of Gene's quest from home to the cloud. If not always imaginative or digestible, the look of the settings and characters should keep kids awake for 86 minutes; and if the trick that eventually saves the day makes very little sense to critical moviegoers, at least it's cutely frantic eye candy. Even so, few adults in the theater will have a hard time maintaining the flatline, unimpressed expression Gene has such difficulty with. 
 
 Production company: Sony Pictures Animation 
 
 Distributor: Columbia 
 
 Cast: T.J. Miller, Anna Faris, James Corden, Patrick Stewart, Maya Rudolph, Steven Wright, Rob Riggle, Jennifer Coolidge, Jake T. Austin, Sofia Vergara, Christina Aguilera 
 
 Director: Tony Leondis 
 
 Screenwriters: Tony Leondis, Eric Siegel, Mike White 
 
 Producer: Michelle Raimo Kouyate 
 
 Executive producer: Ben Waisbren 
 
 Production designer: Carlos Zaragoza 
 
 Editor: William J. Caparella 
 
 Composer: Patrick Doyle 
 
 Casting director: Mary Hidalgo 
 
 Rated PG, 86 minutes ||||| FILE - In this Jan. 15, 2016, file photo, Tyler Perry participates in a panel at the Fox Winter TCA in Pasadena, Calif. Perry took the 2017 Razzie Award for worst actress for “Boo 2! A Madea Halloween,”... (Associated Press) 
 
 FILE - In this Jan. 15, 2016, file photo, Tyler Perry participates in a panel at the Fox Winter TCA in Pasadena, Calif. Perry took the 2017 Razzie Award for worst actress for “Boo 2! A Madea Halloween,” the 10th movie where the director donned a dress and played his signature character. (Photo by Richard... (Associated Press) 
 
 LOS ANGELES (AP) — Maybe it was destiny for a movie with a pile of poop as a central character. 
 
 "The Emoji Movie" has received Hollywood's most famous frown, the Razzie Award , for worst picture of 2017, making it the first animated feature in 38 years to earn the top dishonor. 
 
 "Leading this year's list of movie-misfires is the emoticon-based, talking poop opus," the Razzies said in a statement announcing the recipients, saying the film came in a year when "Hollywood's recycled trash heap attained an all-time high" and saw a "toxic-level lack of originality." 
 
 The annual awards bestowed on the worst the movie business has to offer were announced Saturday in their traditional spot, the day before the Academy Awards. 
 
 "The Emoji Movie" landed four of the 10 Razzies given out this year, also taking worst screenplay, worst director, and worst screen combo, which was given to "any two obnoxious emojis" from the movie. 
 
 Tom Cruise's attempted reboot of the "Mummy" franchise landed him worst actor. He now has no Oscars after three nominations, but two Razzies. Cruise and Brad Pitt won for worst screen couple for 1994's "Interview with the Vampire." 
 
 Tyler Perry took worst actress for "Boo 2! A Madea Halloween," the director's 10th time donning a dress and playing his signature white-wigged matriarch. 
 
 Kim Basinger took worst supporting actress for "Fifty Shades Darker," putting her in the special company of Faye Dunaway, Liza Minelli and Halle Berry as actresses who have won both a Razzie and an Oscar. 
 
 Mel Gibson, who last year won the "Redeemer" award for getting an Oscar nomination just a few years after getting a Razzie nomination, is back at the bottom again as far as the Razzies are concerned, taking worst supporting actor for "Daddy's Home 2." 
 
 "Baywatch," won the inaugural "Special Rotten Tomatoes Award: The Razzie Nominee So Bad You Loved It!" The award is the result of an online poll held in conjunction with the review site Rotten Tomatoes. 
 
 The rest of the Razzie Awards are determined by what the organization says is over 1,000 voting Razzie members 27 countries and from every U.S. state except Montana. 
 
 ___ 
 
 Online: 
 
 http://www.razzies.com 
 
 ___ 
 
 For full coverage of awards season, visit: https://apnews.com/tag/AwardsSeason
– With a 3% "fresh" rating on Rotten Tomatoes, reviews of The Emoji Movie could have consisted of repeated strings of the vomiting emoji, thumbs-down emoji, and poop emoji. Fortunately for fans of brutal critical drubbings, film critics had to use words (despite the film's position that "words aren't cool"). Here are some of the best takedowns of the new animated film: "Children should not be allowed to watch The Emoji Movie," writes Charles Bramesco at the Guardian, calling it a "sponsored-content post masquerading as a feature film" and a "force of insidious evil." It somehow exists to get kids to buy apps without apparently understanding kids and how they actually use emojis. "A viewer leaves The Emoji Movie a colder person," the reviewer concludes. "Hear that? It's the end of the world," writes Johnny Oleksinsk at ithe New York Post after calling The Emoji Movie a "new exercise in soulless branding." At Vulture, Emily Yoshida calls it "one of the darkest, most dismaying films I have ever seen, much less one ostensibly made for children." The Emoji Movie is "a very, very dumb thing" full of moments that "sound like they were written by ad agencies," according to the Hollywood Reporter, which laments that the film wasn't released "via Snapchat, where it would vanish shortly after arrival. But even that wouldn't be fast enough." Finally, Alonso Duralde at the Wrap calls it a "soul-crushing disaster" and "completely shrill and stupid." This "complete waste of your time" is without "humor, wit, ideas, visual style, compelling performances, a point of view, or any other distinguishing characteristic."