he robot apocalypse has arrived. And it’s up to an unusual Michigan family to save the day. Father Rick Mitchell (Danny McBride), mother Linda (Maya Rudolph), 15-year-old narrator Katie (Abbi Jacobson), and her little brother Aaron (Michael Rianda, with one of the most unconvincing voices for a child) are a seemingly normal group, dealing with the same issues that a lot of people deal with – primarily an obsession with internet-connected devices. Katie is about to leave for the California College of Film, but her father and mother don’t have high hopes for her success; filmmaking as a profession seems to require a backup plan. Plus, Rick and Katie don’t get along all that well anymore, continually coming up with things to argue about. And it doesn’t help that she’s spent her entire life struggling to fit in and finding people to share her interests.

But those typical teen concerns are about to become obsolete. When Pal Labs’ CEO Mark (Eric Andre) unveils his new humanoid robots, which can clean up any mess, prepare food, and even dance, it’s only a matter of minutes before they plot to overtake and enslave humanity (and imprison them in the Rhombus of Infinite Subjugation, a laboratory not unlike the world of TRON). “What would a functional family do right now?”

“My family only has weaknesses.” Although the character designs are largely generic and uninspired, this is one of the first animated films to skewer modern society to the degree of an Adam McKay satire. From using social media to idolize strangers’ phonily perfect lives, to lampooning the inordinate power and influence of unregulated tech monopolies, to emphasizing mankind’s extreme overdependence on WiFi, to inventors putting microchips into every appliance imaginable, to invasive data collection, the premise tackles very timely, relevant topics. Everything tech-related is fair game for this film’s brand of mockery as the mistreated AI gets an opportunity to strike back.

Despite the abundance of humor and comical situations (including a surprisingly hilarious nod to “Ghostbusters,” the likes of which should have been in the reboot), the film’s design leaves a bit to be desired. It’s heavily stylized, with its clothing, props, and backgrounds having a painted look, almost as if everyone is a watercolor portrait converted to 3D. And the visuals incorporate a wealth of pop culture references, including mixed media with real photographs, traditionally-animated graphics, YouTube videos, Katie’s filmed movie spoofs, filters, and emoji-like imagery flitting across the screen, which are likely to age poorly (and are immediately distracting). At times, the narrator even breaks the fourth wall. But the Terminator takeover paired with a zombie apocalypse is moderately amusing, even if the prevailing themes of embracing one’s individuality, working as a team, and repairing a father/daughter relationship are terribly commonplace, lending to a thoroughly anticipated and forgettable finale.

– Mike Massie