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Abbi Jacobson, Danny McBride, Maya Rudolph, Michael Rianda, Eric André, Olivia Colman, Fred Armisen, Beck Bennett, Chrissy Teigen, John Legend (mehr)Streaming (6)
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Es gibt tolle Neuigkeiten für Katie Mitchell, denn die angehende Studentin wurde an der Filmschule angenommen. Ihre Eltern stornieren kurzerhand ihren geplanten Flug, um sie selbst zur Uni zu bringen. Doch was als chaotischer Familientrip mit Bruder Aaron und Familien-Mops Monchi beginnt, gipfelt schon bald in einem unerbittlichen Kampf gegen eine Armee von Robotern. (Sony Pictures Home Entertainment)
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Maybe I was looking forward to it a little too much. The Mitchells vs. the Machines is a very fine animated film that, at least in terms of visual ideas, manages to offer much more than what we are used to, and maybe even more than what the best in the business serve up. It also has likeable characters, effective jokes and very good action. It's just that the underlying story is too ordinary and predictable, whether in the "dad looking for a way to his daughter and daughter looking for a way to her dad" or "technology has gone haywire and wants to take over humanity" sense. It's nothing that outright ruined the experience of the film for me, but on the other hand the technical creativity, inventiveness and fun factor often just accentuate the banality and ordinariness of the plot. Granted, they do manage to sell even that with grace, but I still expected a bit more.
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The Griswolds in furiously over-the-top "Miller-esque" playful animation. To its detriment, it doesn't know when to quit, but the dog and a duo of defective robots keep it reliably afloat even in its weakest moments, which aren’t that many actually.
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I loved every freakin' second of it... Movie of the year! The animated film of the decade! The best Netflix film! Instant cult-classic and masterpiece! Afterwards, I almost had to go to surgery to fix my jaw. Unbelievable experience. The film focuses on a wacky, crazy and likeable family who, in the middle of the robot apocalypse, is on a family trip while people are being abducted and the world is slowly ending. An excellent and original concept of the beginning of the apocalypse involving electric appliances going crazy. Throughout the film, the dog naturally steals the spotlight, but the father is also excellent, being a proper handyman and a real man (many men in their forties will see themselves in him), and, of course, the two malfunctioning robots as additions to the group add even more to the show. The son and daughter are also decent, but they lag behind the others a bit, and the mom, she turns into a regular assassin at the end, earning respect! It has a beautiful comic book stylization, great music, a hefty dose of pop-culture references, as well as references to technology, family, American society, and much more. The action itself is also good (the battle in the shopping center with alive electrical appliances has an almost horror atmosphere!!) and the grand finale is, of course, amazing. The biggest advantage is undoubtedly the humor, which is served to such an extent that I can't remember a movie in which I laughed non-stop without breaks. A tremendous explosion, where I was disappointed it was already over and I wanted even more. I want a sequel, prequel, spin-off, anything right away! More screenings are necessary, there is a lot of humor and details in the background, and it's impossible to absorb everything on the first go, there's really a lot. Powerful, touching, incredibly funny, playful, creative, intelligent, captivating, thrilling, and breathtaking. Yes, that's the Mitchells! And I enthusiastically recommend them to absolutely everyone. 10/10.
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In terms of the screenplay, The Mitchells vs. The Machines is not in any way innovative, as it merely remains solidly functional within its predictable narrative. However, the film’s main strengths consist in its visual aspect and how it solves or rather overcomes the essential problems of computer animation. The animation moves between the two poles of (hyper-)realism and abstraction. The best animators are able to combine realism and stylisation into a functional whole in their work. For example, Chuck Jones’s masterful grotesques violate the laws of physics, but they concurrently make essential use of physicality and physical logic in everything from the fall of an anvil to the smallest gestures of the characters. Jones created characters that were simultaneously complete and cohesive, but also tremendously flexible and chaotic because the medium of classic animation allowed him to do that. With the rise and dominance of computer animation, which works with virtual models or, better said, puppets with a solid skeleton, the work process has become faster and more efficient, but it has also lost its expressiveness. At least that applies to mainstream animated feature films, where the main trends were set by the pioneering Pixar, whose aim was to achieve maximum photorealism. In parallel with its milestones in this respect, Sony Animation conversely (alongside profitable franchises) sought ways to come up with something new in the context of the technology used by everyone, and mainly to bring stylisation and non-realism back to computer animation. The Mitchells vs. The Machines follows in the footsteps of not only the revolutionary revelation Spider-Man: Parallel Worlds, but also of its more obscure but developmentally essential predecessors – the cartoon-stylised 3D animated movies Hotel Transylvania and Cloudy with a Chance of Meatballs, as well as the studio's first experiment, the animated found-footage flick Surf’s Up. Though Parallel Worlds was extraordinarily delightful in comparison with the animated feature films of the time, it remained bound by the aesthetics and expressive devices of comic books. In The Mitchells vs. The Machines, such boundaries fall away and an even bolder style comes forth, which this time openly refers to online creative work, not only on YouTube, but mainly on newer platforms like Instagram and TikTok with built-in creative and expressive tools. It is obvious from the project that the age of its creative team ranges from 40-somethings to the recent art-school graduates who populate the animation, storyboard and visual design departments. If we use references to describe the result, we see the expressive colourfulness of Speed Racer, the lighting design of Tron: Legacy and the madcap physical expressiveness and meta-genre self-reflective playfulness of The Amazing World of Gumball, all covered with a layer of stickers, emojis and memes from the aforementioned social networks. Unlike other films that attempt to somehow incorporate into themselves the internet’s characteristic means of expression, here the filmmakers rarely use existing resources and conversely come up with their own emojis in the form of distinctive doodles. Beyond that, they set the goal that 3D animation should look like painted reference images with their characteristic colouring and painted shading. The feature film Klaus had already gone a long way in this direction, but here a completely different and much more sophisticated technology of painted shading and dynamic edge lines is employed. All of this serves to reinforce the impression of “cartoonishness”, which also unties the animators’ hands in terms of the wildness that they can allow themselves in the creative preparation of individual action, melodramatic and comic moments. Some viewers who are used to the nonsensical pseudo-realism of animated blockbusters will be irritated by The Mitchells vs. The Machines due to its schizophrenia in the constant frenetic switching between seriousness and cartoonish boisterousness, dynamic physicality and absolute mockery of physics, as well as the blending of dramatic pathos with unbridled imagination. Others, however, will love the film thanks to the fact that it breaks down the monolithic style of animated blockbusters and brings back wackiness and creativity that is finally unhindred by technology.
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Rianda and Rowe didn’t want to wait for an adaptation of "Robocalypse" and so they put together this cartoon brimming with invention about a technological bugaboo gone wrong and father and a daughter trying to understand each other. All thanks to Miller and Lord and their humor shines to every direction from the screen. The visuals mix two and three-dimensional animation, Tron-style neon lights and a dog with googly eyes who reminds me more of a pig or a loaf of bread. Great family dynamics, a very nice message.
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Es gibt hier Dinge, die recht gut funktionieren. Zum Beispiel die Botschaft über die Familienwerte und der Generationenkonflikt zwischen Tochter und Vater, wo er ein naturalistischer Boomer und sie ein progressiver und kreativer Zoomer ist, fand ich ganz gut. Sogar ein paar Emotionen verspürte ich bei all dem, also war auch das in Ordnung, dann sind da aber wiederum Dinge, die mir nicht mehr solchen Spaß machten. Zum Beispiel die ganze Roboterapokalypse wirkte irgendwie naiv, infantil und dumm. In einem Moment habe ich nur noch darauf gewartet, dass man beginnt, über die Werte des Leben zu singen. Um ehrlich zu sein, war der meiste Humor, den ich hier mitbekam, für mich persönlich größtenteils ein fail. Ich verkrafte viele durchgeknallte Dinge, manche machen mir sogar Spaß, aber hier empfand ich es einfach nur noch dumm, nicht einmal der Hund konnte es noch retten. Vielleicht kommt es daher, dass ich für manche Dinge zu alt bin und so wenn ich zum Beispiel Humor basierend auf meinen Smartphonefilter sehe, habe ich immer lust, den kopf gegen den tisch zu hauen, anstatt zu lachen, und 60% solcher kindischen und für mich langweiligen Witze sind da, was in der Praxis bedeutet, dass ich es nicht allzu oft genieße. Also für mich hat der Film in den tieferen Themen funktioniert, in den Oberflächlicheren (Möchtegern humorvoll) hätte ich nicht lange rumgefackelt und würde mir vielleicht statt dieses Roadtrips lieber eine weitere Folge der Griswolds reinziehen. Andererseits muss ich etwas Animationskreativität schätzen, ich mochte die scheinbar hinzugefügten verschiedenen Effekte (Raptoren, Regenbogen usw.), dank derer es visuell etwas interessanter wirkte als nur ein gewöhnlicher Animationsfilm. Alles in allem war das nicht gerade der Film schlecht hin für mich, und ich habe wahrscheinlich einen ganz anderen Sinn für Humor, denn egal was ich mache, dieses Werk bekommt von mir nicht mehr als 5/10.
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A perfect animated film. Furiously funny, but at the same time still about something, not just about that fury. The 3D animation playfully combined with 2D looks beautiful, and if you remember The Incredibles in a few of the moments, you won’t be able to accuse the creators of copying, but will rather give them the best possible praise. And let's not forget the amazing dubbing by Danny McBride, Maya Rudolph, Olivia Colman and others. It never occurred to me that the film lasted almost two hours (like almost everything today).
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Terminator-Maschinenrebellion im Mitchell-Stil - mit einer (viel) niedrigeren Bewertung, dafür aber umso mehr (un)gewöhnlichem Spaß. Die Mitchells gegen die Maschinen - wie Spider-Man: Across the Spider-Verse - besticht und verblüfft durch ihre ungewöhnliche Animation, die Live-Action-Sequenzen und verschiedene animierte Formate mischt. Das Grundgerüst der Geschichte, in der es um die Rettung der Welt geht, ist nicht neu, aber der fantasievolle Einsatz von Animationen und die Art und Weise, wie die Geschichte erzählt wird, heben den Film vom Durchschnitt ab. Obwohl man weiß (und ahnt), wie es ausgehen wird, hat mich die Geschichte einer extrem eng verbundenen Familie, die durch die technologische Apokalypse zusammengeführt wird, dennoch amüsiert und bewegt. Was mich am meisten zum Lachen gebracht hat, waren der "schweinshündige" Monchi und die Konfrontation seines Vaters mit dem Internet. Schwächere vier Sterne!
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