Critics’ reviews

Robots (2005)

12 reviews from 12 publications. Critics’ score 56: 3 positive, 5 mixed, 4 negative.

Back to our review of Robots

56
Positive
3
Mixed
5
Negative
4

The consensus on Robots is mixed, with praise clustering around its visual invention rather than its storytelling. Critics repeatedly single out the detailed robot world, colourful animation and inventive design, which several find entertaining enough to compensate for a familiar plot. The warmer reviews also welcome the mixture of slapstick and subtler humour, while even some detractors admire the backdrops and production design.

The spread is fairly wide, and critics differ chiefly over how much those pleasures can excuse. Reservations centre on thin characters, weak jokes and a meandering story, with frantic action and crowded cultural references adding to the complaints. Robin Williams’s performance divides opinion particularly clearly: Eye for Film calls his Fender the scene-stealer, while Slant Magazine finds the visual design a welcome alternative to his contribution. For the less persuaded critics, there is too little beneath the busy surface.

RogerEbert.com
11 March 2005 · ★★★/4 · Roger Ebert
75

Ebert gives the film a positive review. He praises its visual invention and lively animated world.

Read the full review →
Variety
6 March 2005 · Joe Leydon
70*

Leydon finds the film an entertaining, visually impressive spectacle despite its recycled storyline. He especially praises the richly detailed robot world and its inventive animation.

Read the full review →
The Guardian
23 September 2005 · Rob Mackie
65*

The review finds the film imaginative and skilfully written, though not as distinctive as its predecessor, Ice Age. It praises the combination of adult and children’s comedy and the film’s visual inventiveness.

Read the full review →
Screen Daily
7 March 2005 · Brent Simon
64*

The review's verdict is unavailable in the accessible text. Its specific praise or complaint is also obscured by the paywall.

Read the full review →
The New York Times
11 March 2005 · A. O. Scott
64*

The Times article is a review of the 2005 film. Its verdict and specific praise or criticism cannot be confirmed from the accessible page.

Read the full review →
Empire
1 January 2000 · Caroline Westbrook
60*

Westbrook finds the film entertaining but far from a classic, with its weak plot and frantic action holding it back. She praises its candy-coloured visuals and singles out Rodney’s subway ride as a high point.

Read the full review →
Radio Times
★★★ · Sloan Freer
60

Freer finds the film an enjoyable, visually inventive follow-up to Ice Age. She particularly praises its colourful, richly textured computer animation for revitalising a familiar story.

Read the full review →
Time Out
· DA
40*

The available description is critical of the film’s animation compared with Pixar’s. It singles out the CGI as less well-defined, but the review text is unavailable, so its overall verdict is unclear.

Read the full review →
Slant Magazine
8 March 2005 · ★½/4 · Ed Gonzalez
38

Gonzalez finds the film largely lifeless and criticizes its weak plot, shallow characters, and intrusive humor. He praises the detailed backdrops and visual design as a welcome alternative to Robin Williams’s performance.

Read the full review →
Los Angeles Times
11 March 2005 · Carina Chocano
35*

The review finds the film overstuffed with cultural references and its familiar moral message unconvincing, despite occasional flashes of brilliance. It singles out Robin Williams’ performance for puncturing the movie’s prevailing idealism.

Read the full review →
The AV Club
8 March 2005 · Keith Phipps
30*

Phipps finds the comedy amiable but thin, with little story to support its production design. He praises the film’s look while criticizing its weak jokes and meandering narrative.

Read the full review →
Eye for Film
19 March 2005 · Josh Morrall
70*

Morrall finds the film engaging and enjoyable despite its simplistic plot and relentless action. He singles out its blend of slapstick and subtle humor, with Robin Williams’s Fender as the scene-stealer.

Read the full review →

Ordered by the weight we give each publication, then by score. Scores are normalised to 100; * means inferred from an unrated review. Summaries are ours, not quotations; follow the links for the reviews themselves. How we rate