A quirky, dysfunctional family's road trip is upended when they find themselves in the middle of the robot apocalypse and suddenly become humanity's unlikeliest last hope.
A quirky, dysfunctional family's road trip is upended when they find themselves in the middle of the robot apocalypse and suddenly become humanity's unlikeliest last hope.
The film leans left due to its prominent critique of big tech and consumerism, coupled with a strong celebration of individuality and non-conformity, which aligns with progressive values despite the universal theme of family bonding.
The movie showcases visible diversity among its characters, including a main protagonist who is implied to be queer, without explicitly recasting traditionally white roles. The narrative primarily explores themes of family connection and technology's impact, maintaining a neutral or positive portrayal of traditional identities rather than offering a strong DEI-driven critique.
The film features a queer protagonist, Katie Mitchell, whose identity is depicted naturally and positively. Her crush on a girl is mentioned casually, and the film concludes with an affirming portrayal of her relationship with her girlfriend, Jade, validating her identity without making it a central conflict.
The film features female characters Linda and Katie Mitchell who participate in action sequences against an army of robots. While they use improvised weapons and creative solutions to defeat these machines, the robots are generally gender-neutral and not explicitly portrayed as male opponents. No scenes depict a female character defeating one or more male adversaries in direct physical combat.
The Mitchells vs. the Machines is an original film featuring characters created specifically for this production. There is no prior source material, historical basis, or previous installments from which characters' genders could have been established and subsequently altered.
The Mitchells vs. the Machines is an original animated film with characters created specifically for this production. There is no prior source material, historical record, or previous installment to establish a canonical race for any character that could then be altered.
Combines user and critic ratings from four sources