Wall-E Andrew Stanton

Wall-E Andrew Stanton
The last robot on Earth is a tiny trash compactor, and after 700 years, he’s developed a few personality quirks. He deciphers human detritus (a spork is particularly puzzling) and watches an ancient VHS tape of Hello Dolly!. Through this evidence, he’s coming to the realisation that there should be someone else, something else for him to connect to.

That special robotic someone arrives in the form of EVE, a probe droid whom Wall-E follows back to her mother ship. Honouring the best traditions of sci-fi cinema, from Metropolis to Blade Runner (Sigourney Weaver voices the space vessel’s on-board computer in a nod to Alien’s "Mother”), what’s surprising about this, one of the most accomplished films yet in Pixar’s arsenal, is the depth of its romantic soul.

Though Wall-E and EVE don’t talk in traditional dialogue (Wall-E is voiced, R2D2-style, by the man who invented the blueprint: Ben Burtt), the pantomime of their romance is clear and true. Wall-E represents the big heart of Charlie Chaplin’s Little Tramp, while sleek, new EVE provides hope for the future amidst a backdrop of a planet destroyed by human consumption.

The pointed critique extends to the hyper-convenient life of Earth’s remaining humans (on vacation until the place gets cleaned up); the Axiom "cruise ship” contains the film’s most eye-popping visuals and social critiques. Director Andrew Stanton has claimed to have no interest in a destroyed Earth back-story (Pixar already made that film — it was 2006’s Cars), and the in-space social world is pointed in its dystopia-by-comfort agenda.

But what separates Wall-E from an animated An Inconvenient Truth is the truth at Wall-E’s robotic heart: it’s about love, stupid, and how we connect with one another. Through inanimate, animated robots, people might learn to put down the big gulp and talk to someone near them too. (Pixar/Buena Vista)