This is the kind of comedy you can only do in the realm of animation, packing as much into the visual frame as possible and moving at the clip of the creative's imagination. You have to be this good to be this smartly silly. There's a segment in a deserted shopping mall with the re-emergence of Furbys that is inspired lunacy ("Behold, the twilight of man!"). One joke that is simply a tonally serious push-in on the question of mortality had me howling and it's only a one-second gag. There's a little of everything here comedy-wise and it all works. I was laughing throughout and besides myself at several points, laughing hysterically from the slapstick to the offhand one-liners to the callbacks and silliness.
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The movie is densely packed with jokes, some that zip by in fractions of a millisecond to reward multiple viewings. I'm sure there will be more than a few viewers who will tire out early or find the pacing exhausting, but if you're a fan of The Lego Movie and its hyperactive style of comedy, then you should be able to adapt here. In some ways it feels like talking with a hyper-literate, boundlessly excited little kid, and I don't mean that as a negative. It's a longer animated movie at 110 minutes but it's also so fast-paced and antic, filled with ideas and jokes and moments it feels like it cannot wait to share. Even when this movie has nothing happening, it's a pleasure just to take it in and appreciate the artistry.īut oh my goodness there is so much happening with The Mitchells vs. There's a stretch that highlights pinkish sunsets and the beautiful light blues of approaching dusk that I said this was the Nomadland of animated movies. The heavy use of neon pastels made me wonder if Nicolas Winding Refn (Neon Demon) was a visual consultant. There were several visual sequences that took my breath away just at the arrangement of colors. This is also an explosively colorful movie with vibrant arrays popping off the screen. I thought it was fun and a good indicator of Katie's meta-drenched sense of humor and creative voice. The movie also echoes its Gen Z-YouTube culture with cute hand drawn additions that will pop on the screen as accents or take over as quick freeze frames. It's combining the fluidity and scale of 3D animation with the tactile and personal flavor of traditional animation. It's a new design I heartily enjoyed in the Oscar-winning Spider-Verse and I hope more major animation projects employ it. The animation is accentuated with similar styles from Into the Spider-Verse, so the filmmakers have implemented an overlay that adds a two-dimensional shaping and shading to the characters to provide more distinct definition. This is a gloriously entertaining movie that looks absolutely gorgeous. The road trip gets even more precarious with a machine uprising and flying robots rounding up humans to eventually jettison them into space.
Youngest son Aaron just wants everyone to get along and talk about dinosaurs endlessly. Linda Mitchell (Maya Rudolph) is doing her best to be supportive of her husband and daughter while trying to bridge their divide.
Rick feels his last opportunity to bond with his daughter is leaving with her, so he forces the family into a cross-country road trip to drop Katie off at her school. She's leaving for college and eager to fly the coop. His teenage daughter, Katie (Abbi Jacobson), is more about the digital sphere and creates her own sardonic, strange videos. Rick (voiced by Danny McBride) is more about the outdoors and hands-on activities. The Mitchells are known as the weird family in their community. Everyone should check out 2021's first cinematic treat. It's so colorful, so exuberant, so clever, while still being heartfelt on its own terms and packing more jokes into a minute than any studio comedy in years. The Machines is my favorite animated film since 2018's Into the Spider-Verse. After watching it twice on Netflix, I have come to the conclusion that The Mitchells vs.
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