The Mitchells vs the Machines Review

 A hilarious cartoon about an eccentric family that must save the world from the uprising of machines, from the creators of Lego. Film "and" Spider-Man: Through the Universes "

Outsider girl Katie Mitchell loves to make movies - more precisely, weird shorts, where her stupid pug Monchy "plays" a tough cop from real action movies. Retrograde father Rick does not really understand her hobbies, and her good-natured mother Linda does not really support her. Only the younger brother Aaron, who is obsessed with dinosaurs (and unsuccessfully looking for another equally obsessed one), is ready to lend his sister his little shoulder. So when Katie successfully passes the exams at the film school, she is doubly happy - both that she has found her calling, and that she will soon move out from her parents.

The plans, however, were not destined to come true: Rick, unsuccessfully trying to improve relations with his daughter, gives her plane tickets and offers to go to film school by car across the country - they say, he wants to make the last family trip. But this is only half the trouble. As the Mitchells travel to Los Angeles, innovative AI robots are taking over America. The trip becomes much more difficult.

At Christopher Miller and Phil Lord - a creative duo responsible for " macho and nerdy ", " Lego. Film "," Spider-Man: Through the Universes "and" Cloudy, with a chance of precipitation in the form of meatballs "- it seems that their recognizable animation style has finally formed. In Mitchells Against the Machines, they act only as producers (directors and writers - Michael Rianda and Jeff Rowe, who previously wrote episodes of Gravity Falls”), And still in this crazy story about the capture of the Earth by offended robots it is difficult not to see the echoes of their handwriting. In hyperexpressive animation, where comic effects or anime-style split screens appear every now and then, in absurd humor - hi-tech robots here, for example, win with the help of a stupid pug face (machines cannot understand if it is a pig, a dog or a loaf of bread, after which is catching a critical error). In, finally, eccentric heroes who win not in spite of, but because of their miraculousness.

"Mitchells against machines", as the same "Lego. Film "and" Spiderverse "manage to keep on a fine animation edge. On the one hand, Pixar's furrowed brows are actively striving for both physical and psychological realism. On the other hand, there are absolutely infantile Illumination with "Minions" and the finally opopsy DreamWorks. Mitchells vs. Machines are exactly in the golden mean. They do not give up the freedom of animation plastics and do not seek to "ground" what is happening on the screen too much - in some places the cartoon turns into a dashing slapstick in the best traditions of the conventional "Looney Tunes" or Hanna-Barbera. But at the same time, they do not indulge the small hyperactive viewer too much: they allow themselves to be distracted by the personal drama of the characters and allow themselves a social commentary on the topic of techno monopoly, merging the data of their users with algorithms.

In places, Mitchells vs. Machines turns into a hilarious version of Black Mirror. At the worst moments, the authors even allow themselves silly jokes about people who are ready to go into slavery on their own for the sake of free Wi-Fi (however, you quickly forget about these moments - most of the gags still hit the target). It's time to start shouting about superficial technophobia, but "Mitchells vs. Machines" respond to any serious claims with deafening irony. The uprising of technology in the film happens for the most idiotic reason one can think of: the smartphone takes offense at its creator and decides to destroy humanity, which does not know how to handle either mechanical assistants or even its own relatives. The climax is not a massive battle with robots,

"Mitchells vs. Cars" do not take themselves seriously and generally laugh at everyone: progressive hipsters and bored boomers, tech tycoons and completely fake couples, using social networks to create an image of an ideal family from the cover of a glossy magazine. And at the same time, it is obvious that the authors of all these ridiculous people are very fond of and with great sympathy for the awkward world in which we all found ourselves. "The Mitchells" are generally one of the few examples of truly "modern" cinema - they do not hesitate to comprehend reality in the form of capacious memes and allow themselves such visual liberation that previously could only be seen on crazy videos from YouTube (such, in fact, they shoot here the main character Katherine). In the middle of the scene, a spectacular intertitle may appear, the villain's head will suddenly turn into a baboon's face from a funny video, and the emotions of the characters are at times emphasized by clumsy drawings, as if drawn over the image. 

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