I already know what will be the
toughest thing about writing this review: not making my opinion
of WALL-E sound overwhelmingly negative. This may come
across as a peculiar conflict for a film-critic to have, but it
is one that I assume many who share my view of the movie have
recently grappled with and will continue to do so over the next
few weeks.
Here’s the
honest truth of the matter: WALL-E is Pixar’s worst film
to date, but a deserving one nonetheless. The problem I’m having
in expressing this lies in the fact that everything wonderful
about the movie is expected of a Pixar release. The prized
animation studio, which has never before delivered a stinker and
probably never will, is known for its rich visual-creations,
clever characters, and fast-paced plots. These three elements
are all readily available in WALL-E—they are essentially
the reasons that I am recommending the movie—but it would’ve
come as a tremendous shock had they not been present.
Accordingly, it seems passé for me to praise them in my analysis
of the film. I’ve already done so before by lauding their
presence in better Pixar productions, namely last summer’s
delightful Ratatouille.
Realizing
that it would be cliché to tout how beautiful the images of
WALL-E are or how cute its central two robot characters can
seem, what I’m left with is a couple of glaringly negative
points to make about the film. Rather than try to renew my
years-long praise of Pixar in a more original style of wording,
I’m simply going to discuss my qualms with the film in rote
fashion. If my criticisms sound overly harsh, then so be it.
After all, you were going to see WALL-E no matter what I
had to say about the film.
As WALL-E
opens, the viewer learns that the titular protagonist (voiced
sparingly by Ben Burrt) is one of several small robots that were
put on a now-uninhabitable Earth to clean up the enormous waste
that people left behind in an attempt to someday allow for
repopulation. Isolated on a giant globe full of nothing but
trash, WALL-E dreams of sharing an emotional connection with
another being as he watches a cloudy VHS copy of the
happiness-filled Hello, Dolly!. The connector he longs
for arrives in the form of EVE (Elissa Knight), a higher-tech
robot who has been sent to Earth to find vegetation that would
signal that the planet could be safely repopulated. WALL-E
senses budding romance with EVE, only to be heartbroken when she
shuts down automatically after discovering evidence of
photosynthesis. WALL-E finds himself too committed to his new
friend to let her go, though, and inadvertently follows her as
she is extracted onto the space-ship which houses Earth’s former
residents.
WALL-E
suffers from two main interrelated flaws: an overconfidence in
its “silent-film”-structured first act and a lacking ability to
engage the viewer’s emotions as its characters are introduced.
The movie's opening scenes are nowhere near as good as they
might sound on paper: as WALL-E and EVE meet each other and
bond, the experience isn’t at all immersive. While undeniably
inventive-looking and sort of adorable, the characters fail to
earn the audience’s sympathy, which is detrimental to the
picture’s power to involve. As briskly paced and well-edited as
they may be, WALL-E’s first thirty minutes can't help but
feel a bit tiresome.
Worse than
the initial boredom and emotional-disconnect that WALL-E’s
introduction may provoke, however, is the scar that the passage
leaves on the rest of the movie. When WALL-E is lifted into
outer-space, the picture comes into its own, taking on wildly
entertaining values in its exploration of a human society that
has been living in a spaceship for seven-hundred years.
(Especially amusing is the movie’s depiction of the fattening
effect that owning futuristic movable personal couches and
constantly living in funky-gravity has on people.) But still
missing from the film is an emotional core that should’ve been
built up in its beginning moments. WALL-E and EVE just aren’t
naturally lovable characters—likely because they cannot talk—and
writer/director Andrew Stanton fails to compensate for this. At
its heart, WALL-E is an enduring love-story between the
two robots and, because of this, the aforementioned flaws prove
especially problematic for the movie on the whole.
Also
troubling is the amateurish political message-making that
WALL-E’s plot invites Stanton to engage in. The movie never
explicitly mentions a human cause for global climate-change, but
more than simply implies one by depicting a hot-looking earth
and irresponsible humans wasting resources in a spaceship above
it. And if that weren’t enough: Fred Willard appears in real
human-form—contradicting the CGI-look of everything else for no
apparent reason—to play a once-powerful CEO that discusses
Earth-repopulation on videotape in a manner that is
intentionally-modeled after (and mocking of) the speeches of
President Bush. Do Americans really need to be lectured by
subtle leftist agendas in products as innocent as Pixar
family-films?
But enough
with my complaining. WALL-E is undoubtedly a worthy
family-film in the end: it looks great from an artistic
standpoint, proves consistently involving for at least the
latter 70 of its 103 minutes, and offers a highly original idea
for an animated film (even if this doesn’t entirely pay off).
Not to mention, as the spaceship’s captain, Jeff Garlin delivers
some spirited, memorable voice-work. For all its flaws,
WALL-E nonetheless represents time well spent beating this
summer’s heat in an air-conditioned multiplex.
-Danny Baldwin, Bucket Reviews
Review Published on: 6.27.2008
Screened on: 6.27.2008 at the AMC
Burbank 16 in Burbank, CA.