Starring: Ben Burtt ... WALL•E / M-O (voice)
Elissa Knight ... Eve (voice)
Jeff Garlin ... Captain (voice)
Fred Willard ... Shelby Forthright, BnL CEO
John Ratzenberger ... John (voice)
Kathy Najimy ... Mary (voice)
Sigourney Weaver ... Ship's Computer (voice)
Click above to buy these and other great posters from MovieGoods.com®
Review: By Stephanie Zacharek, Salon Arts and Entertainment
This new Pixar movie is an environmental cautionary tale and a story of robot love -- and quite possibly the most melancholy cartoon ever made.
WALL-E is a sort of mobile trash compactor -- his name is an acronym for Waste Allocation Load Lifter Earth-Class -- and he's the last robot left on a desolate, crumbling Earth, 800 years in the future. WALL-E has a squat yellow metal body and sturdy pincers for hands. He doesn't say much (the noises he does eventually make are provided by Ben Burtt). But his eyes, two lenses perched atop a virtually nonexistent head like a set of binoculars, suggest the all-too-human anxiety he suffers: He has the perpetually worried look of the young Woody Allen.
Click above to buy this and other great posters from MovieGoods.com®
As WALL-E roams this forlorn landscape, doing his job simply because he has no idea what else to do, he picks up small treasures, bits and bobs that he thinks (if robots can think) might one day come in handy, and brings them back to his lair: The mishmash includes a Rubik's cube, strings of Christmas lights. WALL-E has one friend -- an elegant-looking art-deco-style cockroach who communicates mostly by clicking and cocking his antennae -- but we can see he longs for something more. Is it possible he's been so well-programmed by humans that he's more human than human? Stashed in his cave is a talisman that WALL-E values more than anything else in his possession, an object that he goes back to obsessively, hoping to unlock his secrets. It's a scratchy videotape of "Hello, Dolly," although only small portions of the tape appear to be functional. And so WALL-E spends his evenings trying to parse the secrets of human connection through musical numbers like "Put On Your Sunday Clothes" and "It Only Takes a Moment." He's bewitched by these fragments of pop art: For him, they're mysterious primers on what it means to dance, or to hold someone's hand. When the music kicks in, it's shaky and faint like a cue beamed in from a far-away galaxy, a place where people used to understand the pleasure of one another's company, or even just the joy that could be found in a throwaway musical number.
There's very little dialogue in the early part of WALL-E, and that section's near-silence only enhances its aura of mournful obsessiveness: Scraps of pop culture that are expendable to us (who ever even thinks about "Hello, Dolly" anymore?) are precious to WALL-E, and they begin to have even greater potential meaning when a lovely girl robot named Eve -- shaped like a sleek white bullet, she resembles a cocktail shaker from a '70s bachelor pad -- comes to Earth on a mission of her own.
There's more to "WALL-E" than just a love story. There would have to be, because as Pixar has gone about building a reputation for meticulous craftsmanship in animation, its pictures have become more ambitious in their narrative and thematic scope as well. Sometimes the company has gone beyond fulfilling those ambitions, as in the case of Brad Bird's marvelous Pixar features "The Incredibles" and "Ratatouille." Other times its movies have seemed to be about nothing but ambition (as in the flashy but lifeless "Cars").
Can't think of what to get someone? Get a gift certificate from MovieGoods.com®
* Reviews posted here do not necessarily reflect the views of The Wizard of 'OZ'
* Reviewers do not necessarily endorse MovieGoods.com®