The year is 2800. After hundreds of lonely years doing what he was built for, WALL-E (short for Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life (besides collecting knick-knacks) when he meets a sleek search robot named EVE.
EVE comes to realise that WALL-E has inadvertently stumbled upon the key to the planet's future, and races back to space to report her findings to the humans (who have been eagerly awaiting word that it is safe to return home). Meanwhile, WALL-E chases EVE across the galaxy.
WALL-E is voiced by Ben Burtt, the man who gave R2D2 his distinctive sound.
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Pixar Animation's latest film opens on a desolate Earth, 700 years after mankind has vacated for greener pastures. WALL-E (Waste Allocation Load Lifter Earth-Class) is a small robot left behind to clean up. He needn't bother, really. He's the only sentient being on the planet - aside from his little cockroach friend - and Earth, with its towering trash skyscrapers and a murky yellow atmosphere, is pretty much a write-off.
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The first 40 minutes or so of Wall-E -- in which barely any dialogue is spoken, and almost no human figures appear on screen -- is a cinematic poem of such wit and beauty that its darker implications may take a while to sink in.
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What a rich, strange and intriguing picture this is; a wintry Cassandra in the guise of a pearl-bright summer blockbuster.
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In the moment, it's intermittently transcendent, heartrending and beautiful ... and busy, repetitious and boring.
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When it works, it really works, but it's debatable whether its target audience will really enjoy anything more than the nifty robots. Which is fine, too. Robots are pretty cool.
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Unlikely as it might seem, the story of two star-crossed robots delivers a cartoon classic.
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The visual design of Wall-E is arguably Pixar's best. Stanton, who wrote the script with Jim Reardon from a story he concocted with Peter Docter, creates two fantastically imaginative, breathtakingly lit worlds.
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To call WALL•E Pixar's best film would potentially denigrate films that deserve no scorn. But this is their most ambitious undertaking since "Toy Story" and storytelling of such charm and visual wit that it can stand proudly alongside the studio’s best. Absolute heaven.
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