After watching the three previous movies, each of which comprises approximately four standard episodes as noted by the Futurama Wiki, Bender's Big Score, The Beast with a Billion Backs, and Bender's Game, I decided to finish up by watching this film. I would argue that this film is the strongest of all four films, fully deserving of a rating of 9 out of 10, higher than the average rating of this film (7.3 out of 10). Billy West (voicing Fry, Farnsworth, Dr. Zoidberg, Leo Wong, Poker Sign-Up Clerk, and Nixon's head), Katey Sagal (voicing Turanga Leela), John DiMaggio (voicing Bender, Elzar, and Sal), Tress MacNeille (voicing Fanny, Boobs Vanderbilt, Justice Ginsberg's had, and Mom), Maurice LaMarche (voicing Donbot, Clamps, Headless body of Agnw, Morbo, and Kif Kroker), Phil LaMarr (voicing Hermes Conrad and Clarence Thomas's head), Lauren Tom (voicing Amy and Inez Wong), David Herman (voicing the Number 9 Man and Scruffy), and Dawnn Lewis (voicing LaBarbara Conrad) voiced their respective characters, along with guest appearances from Snoop Dogg, Seth McFarlane (not as himself), Penn Jillette, and Teller, along with Phil Hendrie (voicing Frida Waterfall, Hutch Waterfall, and the Encyclopod). I say that this movie is the strongest because of its overt social commentary. While Bender's Game had ample social commentary with Mom running a huge conglomerate that had control of all the dark matter in the universe (the primary form of fuel), along with criticism of high-minded scientists whom think they will save the day, this film is different. I say that because this film has one villain whom is so self-absorbed he only cares about himself, a literal capitalist whom is helped out by the "earth" government (basically a stand-in for the U$). Leela, one of the film's heroes, soon joins the eco-feminists whom are fighting off Leo Wong, as does Fry with his mind-reading powers and unreadable mind (because he became his own grandfather in "Roswell That Ends Well" (s3, e13).
As the movie goes on, there are occasional obvious pokes at Star Trek, as is common throughout the series, and the absurdity of secret societies/"conspiracy theorists," represented by the "League of Madfellows," all of whom you guessed it, wear tin fool hats. There's also a criticism of capitalism and military adventurism as well, the former through the fact the movie's villain is a capitalist and the government is supporting him, and the latter through Zapp Brannigan's reckless actions to chase the eco-feminists. In that way there is also a criticism of run-of-the-mill activism as not making sense, bad slogan writing, and message-writing. The eco-feminists, however, while they are facing what could be considered a class enemy are a cross-class group of those across occupations and incomes, some in the proletariat (like Leela and Amy), lumpen (the person whom is the smoking prostitute I believe), but others whom definitely have more money (like the co-TV anchor on network news), so it's not a straight class struggle here. I also liked the themes of environmentalism in this movie, feminism, and such, which made the movie stronger.
This film was also meant to cap the series as a whole, as the writers didn't know if it was coming back, and it does a pretty good job doing that. You can say, as Platypuschow wrote in December 2018, that this does no favor to your eyes and is a pathetic attempt at revitalizing the show "with wall to wall feature movies" but I think that is faulty reasoning. From the compelling plot to the antics of Bender's continual crime spree and danger-taking, this movie has a lot to keep you interested. I wouldn't say it's necessarily the most funny, but it is an effective drama to say the least.
With that, my review of this film comes to a close.
As the movie goes on, there are occasional obvious pokes at Star Trek, as is common throughout the series, and the absurdity of secret societies/"conspiracy theorists," represented by the "League of Madfellows," all of whom you guessed it, wear tin fool hats. There's also a criticism of capitalism and military adventurism as well, the former through the fact the movie's villain is a capitalist and the government is supporting him, and the latter through Zapp Brannigan's reckless actions to chase the eco-feminists. In that way there is also a criticism of run-of-the-mill activism as not making sense, bad slogan writing, and message-writing. The eco-feminists, however, while they are facing what could be considered a class enemy are a cross-class group of those across occupations and incomes, some in the proletariat (like Leela and Amy), lumpen (the person whom is the smoking prostitute I believe), but others whom definitely have more money (like the co-TV anchor on network news), so it's not a straight class struggle here. I also liked the themes of environmentalism in this movie, feminism, and such, which made the movie stronger.
This film was also meant to cap the series as a whole, as the writers didn't know if it was coming back, and it does a pretty good job doing that. You can say, as Platypuschow wrote in December 2018, that this does no favor to your eyes and is a pathetic attempt at revitalizing the show "with wall to wall feature movies" but I think that is faulty reasoning. From the compelling plot to the antics of Bender's continual crime spree and danger-taking, this movie has a lot to keep you interested. I wouldn't say it's necessarily the most funny, but it is an effective drama to say the least.
With that, my review of this film comes to a close.