Ralph Breaks The Internet
by REGGIE WOLTZ
It took six years for a Wreck-It Ralph sequel to take shape, and it quickly proves why. Ralph Breaks the Internet mostly eschews the video game cultural mash-up of the original to tell a kid-friendly story set inside the Internet. It’s such a different beast than its predecessor, and yet it’ll likely reach a similar adult audience as the original, as the barrier between gamers and memers isn’t too high, if it exists at all.
As far how the plot handles that transition, screenwriters Phil Johnston, also serving as co-director, and Pamela Ribon simply have the arcade owner plug in the establishment’s first Internet router. But an overlong first act has the unfortunate job of setting up the circumstances that bring Ralph (John C. Reilly) and Vanellope (Sarah Silverman) into the world wide web. There are too many scenes that exist to re-establish their friendship while they play in the same world as the original. It feels like a lifetime establishing Vanellope’s reason for going into the Internet (they have to find a spare part for her arcade machine on Ebay), and the script doesn’t clue us into Ralph’s arc until hers is ending.
But things pick up significantly when the pair starts exploring the Interweb. The jokes are largely simple, such as birds in a tree tweeting primarily photos of cats, and yet just clever enough that they feel fresh. The smart personification of pop-up ads (Bill Hader voices J.P. Spamley, get it?) breathes some life into the early Internet scenes, but the story really comes alive when Vanellope enters an online racing game far more violent and hardcore than her candy coated arcade machine. She’s inspired by that game’s popular racer Shank (Gal Gadot), and thus begins a journey of finding her true home. Splitting from Ralph, their individual journeys give Ralph Breaks the Internet some surprising emotional power in its second half.
Still, the animated sequel feels very much mass-produced and corporate-approved. When the entity doing the approving is Disney, the result is more often than not a mixed bag. When Vanellope visits a family friendly Disney fan site, it’s hard not to feel directors Johnston and Rich Moore sucking up to their corporate overlords. Nods to Marvel and Star Wars aren’t so much hidden as they drive the plot and humor. But then, sometimes the Disney brand is just undeniably strong and, when manipulated in clever ways, can be used effectively. Ralph Breaks the Internet‘s best scene sees Vanellope entering a room filled with all of the classic Disney princesses, from Snow White to Moana. It is an extended sequence written out of pure joy with not an ounce of cynicism. It’s one of the best moments of popular cinema this year, and gives way to one of the film’s other transcendent moments: a hysterical yet poignant song sung by Vanellope about finding where she belongs in a gritty, ultra-violent racing game.
The film draws her arc so smartly, that when it starts wrapping up as Ralph’s is getting started (far too late), the story at large starts to feel like overkill. And yet, the script still weaves in a powerful message about the nature of friendship that, while not wholly original, is relatively unexplored in children’s media.
So while the rough first half could definitely have been shorter, a lot of Ralph Breaks the Internet ends up being worthwhile. As a visual send-up of some of the Internet’s most popular corners, the film is clever and inventive, even if the jokes themselves likely won’t age well by the midway point of the 2020s. But this being as it may be, there’s an artfully written sequencing for the film and a strong heart rooted in friendship. By no means a classic, or capable of making much of a stir on the actual Internet, this animated sequel is coded to entertain, and that it does.
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