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As reviewers, it’s natural for us to compare an artist’s work to his/her previous album, movie, book, etc. In this case, it becomes “natural” to compare “Robots” to the previous bright hit by Fox, “Ice Age”. If we do this, “Robots” comes out lacking against its frozen predecessor. It is not as unique in terms of its intent and also the script is not as great (perhaps because it’s also tougher to report to inanimate beings such as robots, than it is to picture to animals or humans) . But tranquil, it is a humorous (though predictable) movie, with touching moments and plenty of excitement all through it. I particularly enjoyed the dart that Rodney is build through when he arrives in Robot City, in order to accumulate to the headquarters of Mammoth Weld, where he dreams of working.
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The humor can be argued to be more adult-oriented, but mild with advantageous supervision, I totally observe it being fit for children. The fact that our 18-month aged was jumping out of his seat halfway through the movie is more the result of him being hyper than the movie not being fit for children. Now I admit this is no “Finding Nemo” (which keeps him entertained all through it, time and again) . So, bottom line, while not as helpful as or innovative as “Ice Age” and without a very remarkable storyline and groundbreaking animation as “Nemo” got us primitive to, “Robots” is aloof a humorous movie worth checking out.
Animation is a hot genre these days, thanks to the phenomenal success of Pixar’s multi-million dollar blockbusters “Toy Epic,” “Monsters, Inc,” and “Finding Nemo,” and DreamWorks’ “Shrek.” These studio giants have opened the door for other, smaller companies like Blue Sky Studios to release innovative and high-quality movies, such as their first film, “Ice Age” in 2002, and their recent, more ambitious endeavor, “Robots.”
Visually, “Robots” is attractive, both in the recognize of the world and the creativity of its inner workings. The colors are lustrous and the setup is ripe with potential for visual gags. The first half hour of the film is especially lively, beginning with Rodney’s “delivery” as a baby. In the robot world, babies are delivered in boxes and are achieve together like children’s toys at Christmas.
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The characters, led by an all-star cast of distinctive voices, are fun too, especially Broadbent’s deliciously horrible Madame Gasket and Williams’s high-energy Fender, though I opinion Williams could have been given more camouflage time and more freedom to improvise.
The film’s only extinct space, if you can call it that, is in its overzealousness to please. At times, there are so many visual elements, action sequences and gags going on at once, it feels as though we have no time to breathe. But, I applaud the creators for their passion for the project. I’d powerful rather inspect a studio go too far with its enthusiasm than not far enough. The film’s storyline, too, could have been a bit more complex, but kids will care for it, and parents will bask in the complexity of the visual world in exchange for what it might be lacking in account. Overall, this film is a joy to examine, primarily because its cup runneth over with creativity and delight. It’s sure the creators build a lot of time and soul into it, and it paid off- in spades.
It’s racy, too, to leer this level of animation coming more frequently to the immense cloak. Pixar sparked a fresh interest in animation with its release of “Toy Chronicle” in 1995, and has bred an entire generation of animation lovers over the past decade with its subsequent blockbusters. This trend, in turn, has given companies like Blue Sky Studios, Fox, DreamWorks, and others an audience hungry for more of what they have to offer - and they are only too gay to announce.
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