There may be Pixar movies more iconic than WALL·E, such as Toy Story, and there may be Pixar movies more emotional and thought-provoking than WALL·E, such as Inside Out, but WALL·E is as bold as the boldest of Hollywood’s most ambitious animation studio.
The entire first act in of itself is a bold decision, not only for its deliberate pacing but also for its almost purely visual storytelling. Watching the character of WALL·E is like watching a modern parallel to Charlie Chaplin’s Little Tramp. The way the filmmakers are able to get us into the head of, and instantly fall in love with, a garbage crusher with binocular eyes and tank treads blows me away. The robot aspect of the story explores the universal desire for love; the human aspect of the story also touches upon this, but it’s more interested in satirizing our over-reliance on technology and what that could turn us into.
WALL·E isn’t only an animated masterpiece; it’s a science-fiction masterpiece, one I appreciate far more than the 2001: A Space Odyssey it blatantly homages at times, and my affinity for both good sci-fi and silent filmmaking—silent filmmaking that, if accomplished correctly, can evoke emotion without making a sound, which WALL·E essentially can—are probably why I favor it above any other Pixar movie.