Rotten
Disney's found a lot to play with here, but you may find yourself itching to take the controls.
Guy Lodge, Time Out
Wreck-It Ralph
When the game is over, the fun begins.
2012 · 1h 41m · PG
Adventure, Animation, Comedy, Family
Directed by
Rich Moore
Overview
Wreck-It Ralph is the 9-foot-tall, 643-pound villain of an arcade video game named Fix-It Felix Jr., in which the game's titular hero fixes buildings that Ralph destroys. Wanting to prove he can be a good guy and not just a villain, Ralph escapes his game and lands in Hero's Duty, a first-person shooter where he helps the game's hero battle against alien invaders. He later enters Sugar Rush, a kart racing game set on tracks made of candies, cookies and other sweets. There, Ralph meets Vanellope von Schweetz who has learned that her game is faced with a dire threat that could affect the entire arcade, and one that Ralph may have inadvertently started.
Director and cast
- Rich Moore Director
- John C. Reilly as Wreck-It Ralph
- Jane Lynch as Sergeant Calhoun
- Sarah Silverman as Vanellope von Schweetz (voice)
- Jack McBrayer as Fix-It Felix (voice)
- Alan Tudyk as King Candy / Turbo (voice)
- Jamie Elman as Rancis Fluggerbutter
- Adam Carolla Cast
- Rich Moore Cast
- Raymond S. Persi Cast
- Mindy Kaling Cast
Critics on Rotten Tomatoes
Top critics, in their words
87%
Tomatometer
Rotten
You'll either love it or you'll admire it, while wishing it would calm down and, I don't know, maybe pick up a book for a while.
Michael Phillips, Chicago Tribune
Rotten
It's a cool game, to be sure, but watching someone else play it gets old after a while.
Bilge Ebiri, New York Magazine/Vulture
Fresh
For anyone with a grade-schooler and a free Saturday, it's a pretty safe and painless bet. And a great excuse to go up to the attic later and see if you can dig out your old Atari 2600.
Stephen Whitty, Newark Star-Ledger
Rotten
Unlike the Pixar films toward which it aspires-which marry sophisticated conceits to straightforward storylines-Wreck-It Ralph consistently gets lost in its own intricate plot mechanics.
Christopher Orr, The Atlantic
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