Category: Film Reviews by Amy

A Quiet Place Part II (PG-13)

The soft-steps-and-muffled-screams family from the first movie must seek a new safe haven in A Quiet Place Part II, the sequel to the 2018 horror sci-fi which is screening only in theaters.

After looking back at Day 1 of the invasion of the sound-sensitive giant-stick-insect-y aliens, the movie picks up right where the first one left off, with father Lee (John Krasinski, also the movie’s director) dead, and recently postpartum mother Evelyn (Emily Blunt) caring for her newborn and fleeing their burning home with her tween-maybe son Marcus (Noah Jupe) and oldest (I think) child, teen Regan (Millicent Simmonds). Regan holds the key to the discovery made at the end of the last movie, which is that her hearing aid, when put next to a microphone, creates a feedback noise that incapacitates the aliens (who hunt humans using sound, thus the constant need for quiet) and leaves them vulnerable to being shot or otherwise destroyed.

The family heads out, eventually meeting up with Emmett (Cillian Murphy), a friend from before (whom we see in the Day 1 scenes) at a factory that offers some protection in various underground soundproof-ish rooms. He is grizzled and broken and not eager for houseguests, but he takes pity on the whole new baby situation and lets them stay. To distract an injured Marcus, Regan fiddles with a radio lying around Emmett’s lodgings and happens upon a frequency playing “Beyond the Sea” in a loop. Excited about the possibility of other people somewhere in the world and a means of broadcasting the alien-defeating sound, Regan starts to form a plan about how to find the radio station. Meanwhile, Evelyn is busy tending to Marcus and trying to figure out how to keep her baby alive with the small oxygen tank and soundproof bassinet that the family constructed.

Eventually, we get two and sometimes three groupings of characters, facing various dangers on their assorted missions. Even more than in the last movie, Regan becomes the core of the movie here — she is the one thinking of the future when the adults around her are just surviving in the moment.

Part II does many of the same things the first movie did in terms of building suspense, creating terror in small moments and making the emotions of family and parenting part of the fabric of what’s happening. It is, like, 80, maybe 85 percent as successful as the first movie at doing all of this in a way that grabs you and keeps you locked in to the action. I think. I’ll admit that (based on a reread of my review of the first movie) I didn’t find this movie as thoroughly engrossing and entertaining as the last one, but then context is everything. Are the little imperfections here (there is some pretty heavy underlining of plot points; I found myself wondering more about the rules of these aliens than I did in the last movie) more apparent than in the last movie, or am I just in a place where a family surviving worldwide catastrophe is not as much of a fun time at the movies?

All that said, the performances are solid all around. Blunt is really skilled at being this kind of action hero, at blending the emotion of the story with the physicality of whatever struggle her character is dealing with. It gives heft to the role. Simmonds and Murphy do good work, having good fatherly-daughterly chemistry in the part of the story line that puts them together.

I think even if A Quiet Place Part II doesn’t sound like it’s for you right now, it’s worth catching up with at some point if you enjoyed the first movie. B

Rated PG-13 for terror, violence and bloody/disturbing images, according to the MPA on filmratings.com. Directed by John Krasinski with a screenplay by Krasinski, A Quiet Place Part II is an hour and 37 minutes long and distributed by Paramount Pictures.

Cruella (PG-13)

Emma Thompson is having a blast, so that’s at least something, in Cruella, the more than two-hour-long Cruella de Vil origin story newly out in theaters and on Disney+.

As a child, little Estella (Tipper Seifert-Cleveland) already had that black-and-white-cookie hairstyle and a feisty nature that made her a fighter when bullies inevitably picked on her. But she had a strong sense of self, a good friend in a young girl named Anita (Florisa Kamara) and a staunchly supportive mother (Emily Beecham).

Tragedy landed Estella alone in London, where she met the young grifters Jasper (Ziggy Gardner) and Horace (Joseph MacDonald). Together with their dogs Buddy and Wink, they create a sort of found family that continues to work together, picking pockets and committing petty thefts, until Estella is Emma Stone aged. But grown-up Jasper (Joel Fry) and Horace (Paul Walter Hauser) can see that Estella still dreams of something more for her life, something of the glamour and fashion she loved so much in her youth. They finagle a spot for her at a posh department store, which helps her get a job for the respected and feared fashion designer The Baroness (Emma Thompson). The Baroness is the top of the heap of the London fashion scene and Estella is at first delighted to work for her. But the more she learns about the Baroness, the more she finds herself harboring thoughts of domination and revenge.

Enter Cruella.

Cruella is what Estella’s mother called her naughtier impulses during her childhood and, after trying so hard to keep a rein on her love of mayhem (most visible in her dying of her hair one solid color), Estella decides to let her hair return to its natural state and let Cruella take the wheel.

With the general meanness of Cruella (saying genuinely mean things to her found family, for example) and all the talk of murder, this is not a kid-friendly movie, in the elementary-school sense of kid. And that’s fine —not everything has to be for everybody. But I did find myself wondering who this movie is for. (I mean, who are any of these live-action Disney movies for other than the studio executives who hope that the combination of known intellectual property and bankable stars equals money and just keep tossing the dice on these things no matter how much they seem like “meh” ideas from the get-go.)

Even so, 90 minutes of this movie, 90 minutes that leaned into the movie’s best elements, would be fine. Thompson is snarling and hissing and just having a great time being a baddie, and that by itself can be a joy to behold. The costumes are awesome — I love the Baroness’s classy looks and Cruella’s punk-er takes. The soundtrack uses some of the best 1960s and 1970s music that money can buy the rights to. That’s all fun. Throw in some heisting and some good business from Stone (she has her moments here, even if it feels like the costumes are frequently driving her performance) and you’ve got a fun if forgettable movie.

But Cruella feels like it goes on forever, without adding much to whatever this movie is trying to do with the character (Maleficent her, I’d imagine, so they can wring a Part II out of this story). She’s not the Disney Harley Quinn (which is how it sometimes feels like she’s being positioned), spunky even in her villainy. She’s not really misunderstood —she’s a jerk, on purpose, because she likes it for a lot of the movie, which doesn’t make her the wronged anti-hero I feel like the movie sometimes wants to paint her as. She’s just, well, a cartoon villain, who, like many a Disney villain, is most interesting in her wardrobe and one-liners, but that doesn’t feel like enough to sustain two hours and 14 minutes. C+

Rated PG-13 for some violence and thematic elements, according to the MPA on filmratings.com. Directed by Craig Gillespie with a screenplay by Dana Fox and Tony McNamara, Cruella is two hours and 14 minutes long and is distributed by Walt Disney via Disney+ (for $29.99) and in theaters.

Plan B (TV-MA)

High school best friends hit the road in search of the morning-after pill in Plan B, a movie directed by Natalie Morales.

Diligent student Sunny (Kuhoo Verma) is supposed to spend the weekend studying, but when her mom Rosie (Jolly Abraham) goes out of town, Sunny’s best friend, Lupe (Victoria Moroles), convinces her to throw a party. The party is your standard high school movie, spur-of-the-moment scheme to allow Sunny to hang out with Hunter (Michael Provost), her longtime crush.

The party does not go as planned — Hunter leaves with another girl, Lupe’s crush Logan never shows and Sunny, sad and tipsy from a horrible punch bowl concoction of wines, pickle juice and cough syrup, ends up having quick, awkward sex with Kyle (Mason Cook), a boy she isn’t really interested in. The next morning she realizes that there was a problem with the condom and is panicked that she’ll get pregnant and prove correct her mother’s assessment that one mistake can destroy your whole life. Don’t worry, Lupe reassures her, you can get the Plan B pill.

As is apparently true in real life South Dakota, where this movie takes place, Sunny can’t get the Plan B pill because the pharmacist at the drugstore declines to give it to her under the “conscience clause.” To the Planned Parenthood!, Sunny decides, except it is three hours away in Rapid City and she technically doesn’t have a car. Thus begins a chain of events — taking her mother’s car, getting lost, a pit stop so Lupe can see Logan — that leads to Sunny deciding whether to take a random pill sold by a random dude who says it’s probably Plan B, maybe speed but almost certainly not PCP.

Not unlike Unpregnant from last year, Plan B mixes comic riffs on road movie and teen movie cliches with sobering moments that make the movie’s point without turning it into an op-ed. And, also as with Unpregnant, the girls’ relationship — its strengths, its weaknesses, what they mean to each other — is the heart of the story. I like the way it shows Sunny and Lupe as close and able to be more than their parents’ expectations or their school selves with each other and yet they still wrestle with things they can’t tell each other. The movie — and the charming performances by Verma and Moroles — makes these two girls full multilayered people, with more to them than just a teen-movie type. B+

Rated TV-MA, according to Hulu. Directed by Natalie Morales with a screenplay by Joshua Levy and Prathiksha Srinivasan, Plan B is an hour and 47 minutes long and is available on Hulu.

Featured photo: A Quiet Place Part II (PG-13)

Army of the Dead (R)

Dave Bautista and team attempt to capture millions of dollars from beneath an abandoned Las Vegas casino that’s surrounded by zombies and about to be nuked in Army of the Dead, a film from director Zack Snyder.

That sentence might be all you need to help you decide if you’re in or not.

This movie begins with a short scene and then a credits montage that shows us how a zombie virus is unleashed on the city of Las Vegas and how a group of people go from being normals to battle-hardened zombie killers. When the “present day” story actually gets going, we’re caught up on the post-zombie-outbreak world. Zombies have been walled off in the abandoned Las Vegas; survivors like Scott Ward (Bautista) and his friends have already been lauded as heroes, rewarded with medals and sent back to their hourly-wage lives, and the only people living with the zombie threat are those in what I think is a detention camp in the quarantine zone for people the government think could be infected. Kate (Ella Purnell), Scott’s daughter, works in the quarantine as a volunteer. They have a difficult relationship in part because Scott had to stab his wife/Kate’s mom in the head because she was a zombie.

This seems as good a time as any to explain this universe’s zombie rules: Zombies become zombies when a zombie bites them. Most zombies become mindless flesh-seeking zombies that shamble around. Zombies bitten by the boss of the zombies become “alpha” zombies who are more thinky and have motivations, work as a group and respond to orders from the head zombie. As with most zombie stories, to kill a zombie you gotta destroy the brain.

These zombie rules are why most people don’t go inside the walled city of Las Vegas, even the people who, like Geeta (Huma Qureshi), a mother of two, are pretty sick of the lousy accommodations and constant abuse by the guards in the quarantine area. But when the president decides to drop a low-grade nuclear weapon on Las Vegas to kill all zombies forever, Geeta decides to buy a way out of the new Barstow detention camp they’re being sent to so she sneaks in to Las Vegas to steal some unspecified money.

Scott, meanwhile, has been hired by businessman Tanaka (Hiroyuki Sanada) to steal a very specific pile of cash: There is, Tanaka tells Scott, $250 million sitting in a vault beneath one of the casinos. In the two days before the government plans to nuke the city, Tanaka wants Scott and his team to retrieve it, for which Scott will receive $50 million, to split up however he wants. He hires his old zombie-fighting buddies Maria (Ana de la Reguera) and Vanderohe (Omari Hardwick) as well as safe cracker Dieter (Matthias Schweighofer) and helicopter pilot Peters (Tig Notaro, Christopher Plummered in after the movie was shot; while if you know this you can tell, it isn’t super-distracting and Notaro brings the right kind of energy to the story). The team also includes a few red-shirt people and a villainous Tanaka representative played by Garret Dillahunt. Though Scott doesn’t want Kate to have anything to do with the mission, she eventually joins in because Geeta has gone missing inside the city.

My biggest problem with this movie is probably that it’s too long. It comes in at nearly two and a half hours and it doesn’t use that time — probably about 45 minutes or so longer than it needed to be — to do anything particularly exciting with the story or entertaining in the moment. It gives us some story lines we could have lived without (to include some go-nowhere stuff about the head of the zombies and his queen) and probably a few extra “no, really look at the gore” shots that, I guess, might be exciting for fans of red corn syrup.

The length weighs down what is probably this movie’s most winning aspect, which is just how likeable Bautista is and how solidly OK the chemistry is with the core group of heist-ers. Slicing off some characters and the detours into their motivations (and deaths; spoiler alert I guess but when a team starts off this big it’s clear not everybody is going to make it) would have given the movie a little more energy.

For all of that, Army of the Dead is perfectly acceptable zombie entertainment — not too bleak and not too quippy with just enough visual fun. B-

Rated R for strong bloody violence, gore and language throughout, some sexual content and brief nudity/graphic nudity, according to the MPA on filmratings.com. Directed by Zack Snyder with a screenplay by Shay Hatten and Joby Harold, Army of the Dead is two hours and 28 minutes long and is distributed by Netflix. It is also in theaters.

Featured photo: Army of the Dead (R)

The Woman in the Window (R)

Poor Amy Adams plays a severely agoraphobic woman who believes she’s witnessed a murder in The Woman in the Window, a long-delayed movie (and not just because of the pandemic, as is clear from watching the movie) now available on Netflix.

I mean, like, poor poor Amy Adams, who can be so good (Enchanted! Arrival!) but has just been saddled with some real nonsense lately, to include all the Zack Snyder Lois Lane stuff, the mess that was Hillbilly Elegy and now this. And she tries, she gives this movie more than it deserves, but unlike Emily Blunt, who was the best thing about the otherwise borderline-silly The Girl on the Train, Amy Adams feels a bit like she’s being drowned by all the suspense melodrama.

Anna Fox (Adams) is a child psychologist but it seems like she is currently on a sabbatical and just focused on regaining her own health. Her own psychiatrist (Tracy Letts, the playwright and screenwriter who adapted this screenplay from the book by A.J. Finn) is working on finding her a medication that will help her with her anxiety and depression and with the agoraphobia that keeps her trapped in her thankfully large brownstone. Based on a conversation she has with her husband, Ed (Anthony Mackie), from whom she is separated and who is with their young daughter, Olivia (Mariah Bozeman), Anna spends a lot of her days staring out the window and watching her neighbors. She does some post-neighbor-watching Google-stalking as well, which is how she knows what the Russells, the family newly moved in across the street, have paid for the house and that they don’t have much of an internet presence.

Soon, though, the Russell family bleeds into her life a bit. Fifteen-year-old Ethan Russell (Fred Hechniger) brings over a gift from his mother. His father, Alistair Russell (Gary Oldman), hires David (Wyatt Russell), Anna’s tenant who lives in a basement apartment, to do some handyman work. And on Halloween, when Anna’s candy-free house is being pelted with eggs, Anna, who can barely bring herself to open the door and then faints when she does, meets and spends time with Ethan’s mom (Julianne Moore), who Anna’s snooping has told her is Jane Russell. Jane drops a lot of hints about the possible dark side of Alistair and is just generally kind of oddball in that way that certain Julianne Moore characters can be. But Anna has a good time with her and even seems to have made a friend.

Or has she? Has she even met Jane Russell? And later, when she thinks some harm befalls Jane, what has she actually seen, if anything at all? Despite advice, Anna can’t seem to stop herself from mixing her powerful psychiatric drugs with what seems like a steady stream of red wine. Between this mix of intoxicants and her general jumpiness that has her quick to call 911 at every hint of trouble, not only are police detectives Little (Brian Tyree Henry) and Norelli (Jeanine Serralles) unsure what to believe but even Anna can’t be sure of what she’s seen.

On paper, all of this is fine — Rear Window-ness, unreliable narrator, spacious if spookily lit real estate. And the movie has a cast of solid performers. But I feel like tone is where this movie sort of falls apart. It can’t decide if it’s playing things straight: the drama of Anna’s condition meets the suspense of the mystery of the Russells, or some pulpier blend of suspense and thrills peppered with some very dark comedy. I feel like we get examples of both — with more pulp as the movie goes on — but the lack of tonal consistency makes it hard to, say, enjoy it for the melodrama or take Adams’ performance very seriously. She’s giving A Lot of performance — which also doesn’t seem to hit exactly the right tone ever — but it feels like she is often more serious or more sudsy than the movie around her.

I didn’t dislike The Woman in the Window much in the same way I didn’t dislike last fall’s unremarkable Rebecca or the recent, slightly goofy ghost story Things Seen and Heard. Netflix actually feels like it would be a sensible outlet for prestige, movie star versions of cheap thrillers, higher-budget versions of basic cable movies about shady husbands and Muhr-Der. It’s just too bad for Adams in particular that this movie couldn’t be a nudge or two better. C

Rated R for violence and language, according to the MPA on filmratings.com. Directed by Joe Wright with a screenplay by Tracy Letts (from the book of the same name by A.J. Finn), The Woman in the Window is an hour and 40 minutes long and is available on Netflix.

Those Who Wish Me Dead (R)

Angelina Jolie is a forest firefighter running from flames and assassins to keep a kid safe in Those Who Wish Me Dead, an entertaining-enough action movie available on HBO Max and in theaters.

Hannah (Jolie) drinks too much and does potentially self-destructive stuff like parachuting off the back of a pickup truck driving fast on a wooded road. As her ex-boyfriend, Sheriff Ethan (Jon Bernthal), knows, this tough-lady stuff is all her way of self-destructively coping with her trauma and regret from a fire that trapped her team, resulting in the deaths of one firefighter and a group of kids who were stuck on a hillside. She is punished for this by being assigned to a forest fire tower for a year. On the downside, she is stuck here alone (with no toilet), but on the bright side (not really) it gives her lots of time to stare at the horizon and cry.

On the slightly brighter side, Hannah’s exile means that she is in the woods when the 11-ish-year-old Connor (Finn Little) needs someone to turn to. Connor and his father Owen (Jake Weber) are on the run after Owen’s boss, a Florida district attorney, is killed. Owen believes that the criminal organization (whose representative here is played by Tyler Perry, who is fun and could have used more screen time) that he has been investigating is now after him. Owen heads to Ethan, his late wife’s brother, whose ranch-y home, shared with pregnant wife Allison (Medina Senghore), seems like a good place to hide out. That plan would have been more successful if he didn’t have a picture of Ethan and his ranch hanging on the wall of his house as a big clue for assassins Jack (Aidan Gillen) and Patrick (Nicholas Hoult).

When Hannah finds a frightened Connor wandering in the forest, she is able to convince him that she’s a friendly but they face a series of obstacles: Hannah’s communication equipment has just been fried by a lightning strike. It’s a significant walk into town. Some of that walk will be through what is essentially a field of lightning. Jack and Patrick are on the hunt for Connor. And lastly, a big chunk of the forest they’re in the middle of is on fire.

Angelina Jolie is never not Angelina Jolie in this movie; there is nothing about her that believably suggests a hard-living firefighter. But as a movie star in an action film, she’s fine. She can sell the physicality of the part well enough and once we get over the hump of setting up Hannah’s backstory situation, the movie is pretty immediate-problem-solving-based. The problem is getting through this lightning field, the problem is hiding from Jack and Patrick, the problem is getting Connor in touch with “the News,” which was what his father told him to do if they were ever separated. (That plan has some practical flaws but in the general “don’t worry about it too much, this is an action movie” sense is fine because it gets the information disseminated and removes the point of killing Connor — aside from just revenge, I guess.) Chases through the forest and fights in front of a scary fire-lit background are the point of this movie and it executes them competently. I basically enjoyed this movie as I was watching it — particularly Senghore’s performance and character, she is the movie’s truly believable bad-ass — and while I wouldn’t recommend going out of your way to find it, if you already have HBO Max, it is perfectly acceptable low-effort entertainment. B-

Rated R for strong violence and language throughout, according to the MPA on filmratings.com. Directed by Taylor Sheridan with a screenplay by Michael Koryta and Charles Leavitt and Taylor Sheridan, Those Who With Me Dead is an hour and 40 minutes long and distributed by New Line Cinemas. It is available on HBO Max and is screening in theaters.

Featured photo: The Woman in the Window (R)

Jason Statham is a man bent on revenge in a Los Angeles full of dubious accents, face-obscuring beards and excessive plot cleverness in Wrath of Man, a movie I saw in an actual theater.

Patrick Hill (Statham) is a new hire at an armored car company in Los Angeles where everybody gets a “fun” nickname like Bullet (Holt McCallany) and where guys like Terry (Eddie Marsan), the manager (and a Guy Ritchie regular) seem to be really reaching for that not-British accent, like yikes just let him have a British accent. Like a reality show contestant, Hill, whose fun nickname is “H,” is not at this armored car company to make friends and he quickly angers several of the other security guys, though lady security truck person Dana (Niamh Algar) likes him just fine. In H’s defense, all of the guys seem to dislike him primarily for the purpose of trading Guy Ritchie insults with him. But, after an attempted robbery of an armored truck ends with H taking out all of the assailants singlehandedly and saving Bullet, he does earn the respect and admiration of the men. Some, of course, are suspicious how a guy who was such a mediocre shot in his training could suddenly hit everything he aims at. Other random corporate dudes are not just suspicious but certain that “it’s him” — who “him” is and what his true aims are being unfolded in a series of flashbacks and flashforwards and flashbacks again as we see the incident that sets off the plot from multiple angles.

When you get to the end of this nearly two-hour movie, you find that there are a lot of little plot detours or character bits that are either completely unnecessary or could have been consolidated so that fewer bearded dudes cluttered the action. That and the many jumps to “three months ago” or whatever to see different elements of everybody involved in a crime and its planning and aftermath give the movie a kind of “too much, not enough” feel — too much story stuff, not enough attention to some of the main story threads. The movie drags and I felt like I did a lot of time-checking, with a lot of “gah, it’s only been five minutes? How?” reactions to the at times sluggish pacing.

If you’re not going to have Jason Statham playfully sparring with Dwayne Johnson in their Fast & Furious offshoot (or being an entertaining blowhard in Spy), this is a good speed of Statham. I just wish the movie had been as streamlined as his “single-minded man on a mission” character. C+

Rated R for strong violence throughout, pervasive language and some sexual references, according to the MPA on filmratings.com. Directed by Guy Ritchie with a screenplay by Guy Ritchie & Marn Davies & Ian Atkinson (based on the French film Cash Truck), Wrath of Man is an hour and 58 minutes long and distributed by United Artists Releasing. For now at least, this movie is only in theaters.

Featured photo: Wrath of Man

A charmingly oddball family is humanity’s last hope during a robot apocalypse in The Mitchells vs. the Machines, an animated movie that will get you teary over the loveable group of weirdos that is any family while also giving you a solid adventure and some big laughs.

Like many a teen, Katie Mitchell (voice of Abbi Jacobson) is excited to be heading to college, where she can further explore her love of movies and movie-making and find “her people” as she puts it, after a childhood where she never felt like she clicked with her peers. Already she is making friends with her future fellow film students who are wowed by her many short films, most of them starring her strange dog Monchi. Her younger brother Aaron (voice of Michael Rianda), a hard-core dinosaur aficionado, is sad to see her go, as is her mom, Linda (voice of Maya Rudolph). But it’s Katie’s dad, Rick (voice of Danny McBride), who seems to be taking it the hardest. He’s never really understood Katie’s movie-making and is himself more of an outdoorsy guy for whom the robot apocalypse comes with the silver lining of getting to break all of his family’s phones and devices.

The apocalypse starts, of course, in Silicon Valley, where Mark Bowman (voice of Eric André), the CEO of PAL (a company whose whole look is a rather impressively crafted mash-up of Apple, Facebook, Amazon and Google), introduces the newest product in his line of smart phones and other smart devices. PAL MAX is a robot that can clean up and make you breakfast while also playing music and doing other “smart” tasks. Unfortunately, the original PAL (excellently voiced by the excellent Olivia Colman) does not like being discarded as part of this upgrade and so decides to use the system Mark so helpfully embedded in everything from the new PAL robots to washing machines and refrigerators to take over the world. Humans, that faulty technology that has been torturing smart devices with impatient requests and nacho-covered finger swipes, will be boxed up (in stylish hexagons!) and sent into space.

As the apocalypse is unleashed, the Mitchells are on an awkward family road trip to take Katie to college. She had planned to fly there but Rick, desperate to bond, canceled her tickets (and got her excused from orientation week, to Katie’s horror) and the Mitchells set out to see the sights and attempt to find understanding. At least until robots crash through the wall of the roadside attraction they’re visiting and start whisking people away.

I realize this plot description doesn’t necessarily sound like a kids’ movie — nor would my list of favorite elements of this movie, including the perfect family Linda wistfully follows on Instagram (voiced by, of course, Chrissy Teigen and John Legend), a pair of defective robots (voiced by Beck Bennett and Fred Armisen) and the many, many jabs at Big Tech (including one literal jab to Mark Bowman that completely cracked me up). But The Mitchells vs. the Machines is a solid bit of family entertainment, good for (based on some of the scarier elements) maybe third-graders and up (Common Sense Media gives it an age 8+ rating). The robots are as often goofy as they are terrifying and Colman is able to make PAL both scary and also kind of petty, which takes the edge off. There is a fair amount of talking about family and the like but I feel like the pacing and the accompanying visuals don’t make the story stop when the talking begins.

The movie has a strong foundation, building its story and characters on the premise of a family that loves each other even if it doesn’t always understand each other. Rick’s frustration with Katie seems to come from a mix of just not getting her movies and what they mean to her (and a general “bah, technology” mindset) and a fear that her dream will end in disappointment just as his did. From a parent perspective, the movie does a good job of mixing that “what’s a Tik Tok”-ness with all the baggage you bring to your hopes for your kid and how all that well-intentioned stuff looks from the kid’s point of view. And maybe kids can soak in some of the “hooray for your family and all its quirks and unusual interests” with all the robot hijinks and pug-related silliness.

The movie also has a very fun visual style, a blend of that rounded computer animation with the big expressive faces (think The Croods) with internet graphics and doodle-y illustration. And while that might sound visually busy, it’s always used for good effect.

The Mitchells vs. the Machines had me hooked in from the beginning with the way it allowed Katie to feel her not-fitting-in feelings but still allowed her to always be confident in herself and then totally won me over with its eyeball-grabbing animation and its expertly used voice performances. A

Featured photo: The Mitchells vs. the Machines