In concept, Wreck-It Ralph resembles some of Pixars hits of recent years, in particular Toy Story (1995) and Cars (2006). (No surprise, given that Pixar founder and now Disney Chief Creative Officer John Lasseter is the films executive producer). From these, it imagines the secret lives of anthropomorphised characters toys, vehicles and here the characters inside videogames behaving as humans would. From Toy Story and in particular Who Framed Roger Rabbit? (1988), which respectively had cameo appearances from toys and animated characters of yesteryear, the film takes the idea of characters from popular videogames all meeting up and interacting. Throughout we get cameos of characters from games such as Dance Dance Revolution, Frogger, House of the Dead, Mortal Kombat, Pac Man, Sonic the Hedgehog, Street Fighter and Tapper. Maybe you could call Wreck-It Ralph a Tron (1982) reinvented via the world of Toy Story. It is certainly a winningly original concept.
Like Tron, Cars and Roger Rabbit, Wreck-It Ralph has a great deal of fun with what you might call the meta-concept the way in which we see aspects of the game familiar to us anthropomorphised and how it shapes the characters worldview. Characters from older games are in envy of the higher resolution that modern games exist by (the opening and end credits of the film come in the pixelated form of early arcade games) and live in terror of their game being regarded as obsolete (this worlds equivalent of being rendered homeless). Surge protectors act in effect as the customs officers between the game worlds. Characters engage in races to get placement on a board where they will be chosen as player avatars. We visit backdoors of the programming world where uncompleted levels exist and the villain is able to conduct skulduggery by tinkering with the games programming code.
Surprisingly, the film is at its most amusing when it gets into the world of Sugar Rush. Ones first impression was that this would be the opportunity for the film to sink into the completely saccharine. Instead however, it becomes an opportunity for the filmmakers to conjure up a madcap world that exists somewhere between the candy apple inanity of The Care Bears and Willy Wonka and the Chocolate Factory (1971). There is an hilariously wacky charm to seeing the film trot out characters based on familiar candy products guards made out of donuts, cough drop attendants (one of whic Wreck-It Ralph forces to confess by threatening to lick to its soft core), racing cars constructed of various candies and biscuits, stalactites made up of Mentos that fall into a lava pit of diet soda and so on. You can see the animation team has had an absolute ball coming up with their wackiest imaginings in these scenes.
The character of Wreck-It Ralph is fairly much an animation standard of the ungainly big guy who yearns for understanding and acceptance and whose journey is eventually to win the respect of his peers and accept his position in life. Sarah Silverman incarnates Vanellope with a great deal of appeal and sharp-witted sass. She has a character that ranges through many aspects adolescent sidekick, the cute kid, the spunky tomboy without ever managing to venture into cliche territory. The most fun and amusing pairing the film brings together is the romance between the boyishly larger-than-life heroism of Fix-It Felix and the grimly stalwart toughness of Sergeant Calhoun, a relationship that is as much improbable in seeing opposites attract as it is amusing. The considerable strength of the film is its characters and especially the arc that forms the fulcrum of the film I dont recall an animated film where I have seen a character having faced such a tough and heartbreaking decision as the one where Ralph must face the choice of having to destroy Vanellopes dream of being a racer in order to save her life.
Director Rich Moore next went on to co-direct Disneys Zootopia (2016).
(Winner in this sites Top 10 Films of 2012 list).