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Pixar’s “WALL-E” succeeds at being three things at once: an enthralling animated film, a visual wonderment and a decent science-fiction story. After “ Kung Fu Panda ,” I thought I had just about exhausted my emergency supply of childlike credulity, but here is a film, like “ Finding Nemo ,” that you can enjoy even if you’ve grown up. That it works largely without spoken dialogue is all the more astonishing; it can easily cross language barriers, which is all the better, considering that it tells a planetary story.

It is 700 years in the future. A city of skyscrapers rises up from the land. A closer view reveals that the skyscrapers are all constructed out of garbage, neatly compacted into squares or bales and piled on top of one another. In all the land, only one creature stirs. This is WALL-E, the last of the functioning solar-powered robots. He — the story leaves no doubt about gender — scoops up trash, shovels it into his belly, compresses it into a square and climbs on his tractor treads and heads up a winding road to the top of his latest skyscraper, to place it neatly on the pile.

It is lonely being WALL-E. But does WALL-E even know that? He comes home at night to a big storage area, where he has gathered a few treasures from his scavengings of the garbage and festooned them with Christmas lights. He wheels into his rest position, takes off his treads from his tired wheels and goes into sleep mode. Tomorrow is another day: One of thousands since the last humans left the Earth and settled into orbit aboard gigantic spaceships that resemble spas for the fat and lazy.

One day WALL-E’s age-old routine is shattered. Something new appears in his world, which otherwise has consisted only of old things left behind. This is, to our eye, a sleek spaceship. To WALL-E’s eyes, who knows? What with one thing and another, WALL-E is scooped up by the ship and returned to the orbiting spaceship Axiom, along with his most recent precious discovery: a tiny, perfect green plant, which he found growing in the rubble and transplanted to an old shoe.

Have you heard enough to be intrigued, or do you want more? Speaking voices are now heard for the first time in the movie, although all on his own, WALL-E has a vocabulary (or repertory?) of squeaks, rattles and electronic purrs, and a couple of pivoting eyes that make him look downright anthropomorphic. We meet a Hoverchair family, so known because aboard ship they get around in comfy chairs that hover over surfaces and whisk them about effortlessly. They’re all as fat as Susie’s aunt.

This is not entirely their fault, since generations in the low-gravity world aboard the Axiom have evolved humanity into a race whose members resemble those folks you see whizzing around Wal-Mart in their electric shopping carts.

There is now a plot involving WALL-E, the ship’s captain, several Hover people and the fate of the green living thing. And in a development that would have made Sir Arthur Clarke’s heart beat with joy, humanity returns home once again — or is that a spoiler?

The movie has a wonderful look. Like so many of the Pixar animated features, it finds a color palette that’s bright and cheerful, but not too pushy, and a tiny bit realistic at the same time. The drawing style is Comic Book Cool, as perfected in the funny comics more than in the superhero books: Everything has a stylistic twist to give it flair. And a lot of thought must have gone into the design of WALL-E, for whom I felt a curious affection. Consider this hunk of tin beside the Kung Fu Panda. The panda was all but special-ordered to be lovable, but on reflection, I think he was so fat, it wasn’t funny anymore. WALL-E, however, looks rusty and hard-working and plucky, and expresses his personality with body language and (mostly) with the binocular-like video cameras that serve as his eyes. The movie draws on a tradition going back to the earliest days of Walt Disney , who reduced human expressions to their broadest components and found ways to translate them to animals, birds, bees, flowers, trains and everything else.

What’s more, I don’t think I’ve quite captured the film’s enchanting storytelling. Directed and co-written by Andrew Stanton , who wrote and directed “Finding Nemo,” it involves ideas, not simply mindless scenarios involving characters karate-kicking each other into high-angle shots. It involves a little work on the part of the audience, and a little thought, and might be especially stimulating to younger viewers. This story told in a different style and with a realistic look could have been a great science-fiction film. For that matter, maybe it is.

Note: The movie is preceded by “Presto,” a new Pixar short about a disagreement over a carrot between a magician and his rabbit.

Roger Ebert

Roger Ebert

Roger Ebert was the film critic of the Chicago Sun-Times from 1967 until his death in 2013. In 1975, he won the Pulitzer Prize for distinguished criticism.

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Film credits.

Wall-E movie poster

Wall-E (2008)

Ben Burtt as Wall-E

Elissa Knight as Eve

Fred Willard as Shelby

Jeff Garlin as Captain

John Ratzenberger as John

Kathy Najimy as Mary

Sigourney Weaver as Computer

Kim Kopf as Hoverchair mom

Garrett Palmer as Hoverchair son

Directed by

  • Andrew Stanton
  • Jim Reardon

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WALL-E Summary

Lights, camera, action.

A long, long time ago in a galaxy far far away…

No, wait. Wrong movie. 

In a time not too far from now in this very galaxy, on this very planet, humans have trashed the place so badly that they flee into space and leave an army of Waste Allocation Load Lifters—Earth class (that's WALL-E to you) to clean the place up.

It doesn't quite work. 

One rusty little WALL-E remains 700 years later, trundling across the barren landscape and compacting all the trash that still exists. (Is nothing biodegradable?) WALL-E is lonely, with only a cockroach and his Hello, Dolly VHS tape to keep him company. He looks to the stars and dreams of love.

And—boom—one day love appears in the form of a sleek hovering egg-shaped robot named EVE. She's feisty: she spends her time blowing up oil tankers and, on a couple of occasions, almost annihilating WALL-E, too. But WALL-E takes EVE to his shelter to show off his collection in the hopes of winning her heart.

Or at least her circuit boards.

When WALL-E shows EVE a plant he found, she takes it and shuts down, sending a signal into space. When a ship retrieves EVE, WALL-E hitches a ride and ends up on the Axiom, the ship that all the humans left on 700 years ago. In the last 700 years, they've gotten incredibly lazy and incredibly obese. They can't even walk.

EVE and WALL-E take the plant to the Captain of the Axiom. The plant, which proves Earth is inhabitable again, will allow the Axiom to return to Earth and repopulate it. But when they open EVE… it's gone.

EVE and WALL-E are chucked into the Repair Ward, but they break out to find the plant.

It turns out that AUTO, the ship's wheel, had his GO-4 bot put the plant on a Life Pod and set it to self-destruct. WALL-E and EVE get it back and race to return it to the Captain's bridge. When they do, AUTO takes the plant away, saying that directive A113 forbids him from letting the Axiom return to Earth. He zaps WALL-E, frying his circuit board and chucks him in the dump.

EVE rescues WALL-E, but he's so fried that she needs to repair him. All his spare parts are on Earth, so EVE, with the help of the Captain (who fights AUTO and turns him off) returns the plant to the holo-detector, sending the Axiom back to Earth. On Earth, EVE repairs WALL-E...but his memories are erased.

But (guys, it's Disney, come on) EVE's spark of a kiss restores WALL-E's memories.

All the robots and fat humans step out of the Axiom and get ready to farm and dance and live life again on Earth. 

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43 WALL-E (2008)

What Makes WALL-E So Special

by Jaren Foster

Initially WALL-E is a film about robots, the environment, and love. It’s one of Pixar’s many animated movies that wishes to awe the audience once again with a feeling of adventure and sci fantasy never seen before. Those ideas, scenes, and moments presented throughout the film is what made me fall in love with it for the first time as a young boy and is what still continues to make me love it to this day. What I realized though after this long time of growth is that this movie contains a lot more than first meets the eye. WALL-E is more than just another good Pixar film, it’s a movie that carries themes of power and difference that attempt to convince its watcher of the possible realities of the world we currently live in. This movie is much more than a fun watch or an escape into a science fiction fantasy. WALL-E is a film that uses its animation, plot, characters, and cinematography to show the watcher something they’ve never seen before.

WALL-E was first released in 2008 by the popular Pixar animation studio. This was one of the first films produced by the studio after its acquisition by Disney in 2006. Previously Pixar had already created mega popular hits such as Cars , Monsters Inc , The Incredibles , and Toy Story . To add to this collection Pixar created the film WALL-E which was the one of the first movies they ever did heavily inspired by technology and science fiction. This particular story takes place in a futuristic setting with its main protagonists being the lovable robots WALL-E and EVE. These two are an unlikely duo brought together by even more unlikely circumstances which results in a crazy adventure and the saving of earth and its environment. What made this story all that more compelling and innovative at this time was the fact that technology was rapidly advancing. This film takes advantage of human curiosity about what the future might hold in the age of technology and also the consequences of technology advancing too far. WALL-E uses that wonder, fear and curiosity people had about the possible future of earth and its inhabitants to create a beautiful and unique story.

the two central protagonist WALL-E (left) and EVE (right)

Though this film focuses on environmentalism and love, one extremely notable concept imputed in this film is in its difference (or lack of it) of characters and representation. First though, I think it’s important to note that the film has two sets of characters, robots and humans. The main protagonists WALL-E and EVE are both robots. Initially it may not seem important to look at the difference in the characters, but when you look closer at each you realize that each is designed and represented to fit within male or female. Robots by their nature don’t have a specific sex as they are not biological. Yet this film decides to portray them as male and female. WALL-E himself is a blocky character in which due to his surroundings is much dirtier and oddly shaped. EVE on the other hand is white ovular robot which presents a much more slim, cleaner, and visually pleasant design. This can be directly correlated to real life films in which many masculine characters are represented as rough, more square, and larger characters while females are often more pretty, colorful and slim. However, the thing that really separates these two characters from classical stereotypes of female and male protagonists are their personalities. WALL-E is a robot whose heart is as big as his curiosity. He is a robot that acts on his feelings in a way that is rarely represented in film for male protagonists. EVE on the other hand is also unique as she takes to action much more than WALL-E and is one who operates on rational thought much more than the male hero. This is very unusual for most classical Hollywood films as most female protagonists are timid, weak, or emotional compared to their male counterparts. These similarities and differences between these characters create a unique combination in which both WALL-E and EVE very much fit within a gender role, yet how that role is represented varies greatly from classical themes.

Screenshot of the humans aboard the Axiom ship in the film

The second part I wish to bring attention to on the topic of difference in WALL-E is the representation of humans in the film. For the entirety of the early part of the film not a single soul is shown. Earth is stranded and humans are off on a ship called Axiom. It is later revealed that due to the technological advances on this ship, humans have become extremely lazy. This laziness is shown in a scene in which WALL-E first glances upon what human society has become. This scene shows numerous close-up shots of human futures and how this new found laziness has turned them into basically overweight, unintelligent, and careless creatures. From their chubby fingers down to their self-moving chairs which push them every which way the film doubles down on the possible futuristic effects of technology. This horrific idea was just as popular both then in 2008 as it is now in which numerous studies and research show the increased rise of obesity within adults over recent decades. This scene also references how many children and adults now spend more time inside with a screen in front of them rather than outside with friends or interacting with nature. While this film is harsh on its representation of humans it uses the imaginative power of animation to show and even warn people the side effects of our own creations.

Shot in the opening scene of WALL-E, showing the current status of Earth

At the very center of this film is that of power and its effects on not only humanity but the environment itself. At the very start of the movie, you are introduced to a trash riddled world in which humans are long gone and all that is left are some tiny trash compacting robots in order to clean up the mess. This is revealed to be due to decades of consumerism and corporate ignorance which eventually leads to the corporation Buy n Large having to evacuate all of the remaining humans from the planet. This is a very blatant representation of how in today’s world many people put their trust in corporations which at their core have no good intentions besides the profits and continuation of business. This idea though is not the only sign of power in the film. Another obvious call to power is that of technology on humans. As stated in the last paragraph, in this film humans have become extremely lazy and overweight due to their reliance on technology. The film does not even show humans being able to move around in the film without being catered by the assistance of a robotic chair. This idea tackled the issue of the large increase of technology across the globe. Showing that while technology can grant ease, relaxation, and lesser workload, if given too much power it could even take away from what humans are.

Later in the film, WALL-E introduces you to the main villain, AUTO. AUTO is an A.I robot wheel which acts as the central antagonist of the story. This robot is what causes WALL-E and EVE so much trouble in restoring earth throughout the entirety of the movie. What is different about AUTO though is that it takes the form of a pilot’s wheel in which at the center is a menacing red eye. This can be quickly pointed out as completely opposite of the robots WALL-E and EVE in which they are relatively designed around human sexes. AUTO on the other hand is given almost no human characteristics except his extremely deep menacing voice (This largely impart due to his role in the film being the primary antagonist). You see while WALL-E and EVE are represented by humans and are the protagonist of the story. The antagonist, AUTO, is made to be the exact opposite of human and purely robotic. This idea contradicts the entire role of humans and robots in the film. This film is one that initially centers around two robots and wishes to show the negative effects humanity can have on itself, yet the main central villain who ends up being the one causing all the trouble, is not the corporations, not a human full of greed, but a robot who wishes nothing for the downfall of earth’s environment.

What AUTO shows me about the film is that no movie is perfect. AUTO represents the fact that while the movie talks about many deep ideas it doesn’t exactly nail the issue on the head every time. However, for me even with its faults WALL-E is a movie that I cannot help falling in love with every time I watch it. This film represents more than just one story, one theme or one concept. WALL-E is a film that has so many different ways to approach it that anyone can enjoy or learn something from it. Personally, when I first watched the movie my love for science fiction and robots is what got me intrigued. Now WALL-E interests me as I notice how it uses its scenes, animation and story to convey a plethora of different messages to the watcher. Movies nowadays come in all different shapes and sizes yet the problem with most is that they’re exactly that. A movie with a specific shape and size. WALL-E to me represents a film or project that has no shape and no size. It’s a formless film in which anyone can enjoy in their own way.

What I really wish to do in this paper is emphasize this movie’s creative and powerful themes, motives and scenes while also analyzing how it still fits within a contemporary film. On the surface this film is a love story involving two adorable robots who end up saving the planet and returning it to its natural state. Below the surface the movie tackles the ideas of difference and power in technology, corporations, and humans. However, on top of all these different objectives this film approaches, it still remains as a movie in which people can enjoy even in the simplest of ways. WALL-E still contains that “Pixar magic” that everyone has loved and cared for for years while also separating itself from the huge discography of other movies out there. This film is one that can be appreciated in many different ways, and while still with its faults, is one that stands the test of time as kids and adults alike can appreciate and love the film each in their own unique way.

Cheu, Johnson. Diversity in Disney Films: Critical Essays on Race, Ethnicity, Gender, Sexuality and Disability . McFarland, 2013.

Long, Brittany, “Creating Gender in Disney/Pixar’s WALL-E.” (2011). Undergraduate Honors Theses. Paper 149. honors/149.

Mecchi, Jason, and Ruth Chang. “No, Ignorance Is Not Bliss: A (2020) Review of WALL-E.” Midstory , 20 July 2022,

Shaw, Ian Graham Ronald. “WALL-E’s World: Animating Badiou’s Philosophy.” Cultural Geographies , vol. 17, no. 3, July 2010, pp. 391–405. EBSCOhost,

“Wall-E Movie Review and Analysis of the Main Message.”  WritingBros, 25 Apr. 2023,

“Wall-E: A Story Inspired by the Bible, Essentialism and Modern Capitalism.” The Angry Vietnamese , 8 June 2017,

“Wall·E (2008).” IMDb, Accessed 12 June 2023.

Zavattaro, Staci M. “‘We’ll See Who’s Powerless Now!’ Using WALL-E to Teach Administrative Ethics.” Public Integrity , vol. 24, no. 7, Nov. 2022, pp. 702–16. EBSCOhost,

Difference, Power, and Discrimination in Film and Media: Student Essays Copyright © by Students at Linn-Benton Community College is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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  • In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.
  • In a distant, but not so unrealistic, future where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess. Mesmerized with trinkets of Earth's history and show tunes, WALL-E is alone on Earth except for a sprightly pet cockroach. One day, EVE, a sleek (and dangerous) reconnaissance robot, is sent to Earth to find proof that life is once again sustainable. WALL-E falls in love with EVE. WALL-E rescues EVE from a dust storm and shows her a living plant he found amongst the rubble. Consistent with her "directive", EVE takes the plant and automatically enters a deactivated state except for a blinking green beacon. WALL-E, doesn't understand what has happened to his new friend, but, true to his love, he protects her from wind, rain, and lightning, even as she is unresponsive. One day a massive ship comes to reclaim EVE, but WALL-E, out of love or loneliness, hitches a ride on the outside of the ship to rescue EVE. The ship arrives back at a large space cruise ship, which is carrying all of the humans who evacuated Earth 700 years earlier. The people of Earth ride around this space resort on hovering chairs which give them a constant feed of TV and video chatting. They drink all of their meals through a straw out of laziness and/or bone loss, and are all so fat that they can barely move. When the auto-pilot computer, acting on hastily-given instructions sent many centuries before, tries to prevent the people of Earth from returning by stealing the plant, WALL-E, EVE, the portly captain, and a band of broken robots stage a mutiny.
  • In the distant future, humans abandon Earth because there is too much trash on it. WALL-E, with habit of picking up everything he finds interesting, lives alone on the planet with a pet cockroach. He has quite a collection of things, from lighters to a working iPod and even a small ring box (without the ring). He even has the last living plant. When a spaceship comes to earth and drops a sleek and dangerous probe EVE to look for a living plant, WALL-E falls in love with her. WALL-E gives her the plant, which makes EVE go into sleep mode. When a spaceship comes to take EVE back, WALL-E too goes with her. What follows is an adventure onboard the Axiom, where people move on hovering chairs and get liquid food which they suck up through a straw. Due to laziness, they have become so fat that they are unable to move. Due to hastily given instructions given to it, auto, the autopilot it tries to get rid of the plant which compels WALL-E, EVE, the pilot and some malfunctioning robots to find a way to retrieve the plant and save the earth. — srijanarora-152-448595
  • WALL-E, short for Waste Allocation Load Lifter Earth-class, is the last robot left on Earth. He spends his days tidying up the planet, one piece of garbage at a time. But during 700 years, WALL-E has developed a personality, and he's more than a little lonely. Then he spots EVE, a sleek and shapely probe sent back to Earth on a scanning mission. Smitten WALL-E embarks on his greatest adventure yet when he follows EVE across the galaxy. — Jwelch5742
  • It's late in the third millennium, and Earth has become an uninhabitable wasteland with nothing able to grow. Several hundred years earlier, a corporation called Buy-N-Large shipped all humans off the planet to live on starships, they biding their time until Earth is able to regenerate itself into an inhabitable planet. They also left WALL·E (Waste Allocation Load Lifter: Earth-Class) robots on Earth to clean up and compact all the industrial waste. Only one WALL·E remains, it which has gained emotions and the ability to feel. In order to survive emotionally, WALL·E uses whatever it can find as touchstones to past life on Earth. Despite their initial antagonistic encounter, WALL·E befriends an EVE (Extra-terrestrial Vegetation Evaluator), a droid sent from the mother ship, Axiom, as a sensor to gauge if life has regenerated on Earth. Not knowing about EVE's mission, WALL·E is surprised by EVE's interest in a small seedling WALL·E previously found and brought back to its makeshift abode. In EVE needing to take the seedling back to Axiom, WALL·E, not wanting to lose its new friend, hitches a ride as a stowaway to Axiom. A combination of WALL·E making it back to Axiom and EVE bringing back the seedling leads to a risk to both their survival, as AUTO, the automated pilot manning Axiom, has its own agenda against the recolonization of Earth. — Huggo
  • A Dystopia in the Future Approximately seven hundred years in the future, the Earth is over-run with garbage and devoid of plant and animal life, the consequence of years of environmental degradation and thoughtless consumerism. The surviving humans are living on the spaceship Axiom after vacating Earth centuries earlier. Axiom is operated by a large corporation called Buy N Large, whose BnL logo appears even on the artificial sun visible from the ship's main concourse. The original plan was for humans to live in outer space for 5 years while cleaning robots ("WALL-Es" invented by Professor Simon) prepared Earth for recolonization. However, after seven hundred years, only one WALL-E (voice: Ben Burtt ) remains. WALL-E spends his days compacting debris into solid blocks and building structures with them. He also collects some of the more interesting artifacts and keeps them in the garage he shares with a cockroach, his only friend. At night he watches Hello Dolly on VHS and dreams of having a hand to hold. Most of his finds are spare parts and electronics but one day he discovers a lonely plant. Not sure what it is, but recognizing that it needs soil and care, he picks it up and puts it in a dirt-filled old shoe. The next day, an enormous spaceship lands and deposits another robot, EVE (Extraterrestrial Vegetation Evaluator, voice: Elissa Knight ). WALL-E is immediately smitten and hopes to hold her hand, but EVE is quick to use her plasma cannon, which can blast a hole through anything. EVE flies around Earth looking for vegetation but becomes distraught upon not finding any. WALL-E is finally able to approach her and takes her back to his garage where he shows her his collection of human artifacts. She still resists holding his hand, however, so he shows her the plant he found. This activates her prime directive: she takes the plant into a special containment capsule within her body, sends a signal to the mother ship, and goes into hibernation mode. Confused, WALL-E tries to make her safe and comfortable. He shelters her from thunderstorms and takes her to a park where he can watch the sunset next to her. Several days later, the mother ship returns and collects EVE. WALL-E hitches a ride on the ship, which returns to the Axiom several light years away from Earth. EVE and WALL-E are examined in the landing bay. EVE, still in hibernation mode, is taken away to the ship's commander. WALL-E pursues her, followed by M-O (voice: Ben Burtt ), a cleaning robot who is intent on scrubbing the filthy WALL-E to remove foreign contaminants (i.e. dirt or earth). On the way, WALL-E sees humans for the first time. Obese and largely unable to move on their own, they are carted around the Axiom in hover chairs with video screens that allow them to communicate with one another and see a variety of advertisements for drinkable food products. When WALL-E accidentally knocks one of the humans, John (voice: John Ratzenberger ), off his hover chair, WALL-E helps the man back into the chair and introduces himself. Confused but grateful, John introduces himself in return. WALL-E tracks EVE to the chambers of Captain McCrea (voice: Jeff Garlin ), who is just as inert and catered to as the other humans. McCrea is confused but excited about Operation Recolonize, which is triggered by EVE's find. But when McCrea reactivates EVE and orders her to produce the plant, it is missing. McCrea orders EVE and WALL-E to be taken for repairs but, after they've left, decides to educate himself about Earth. In the repair bay, WALL-E mistakenly thinks EVE is being harmed by the repair crew and uses her plasma cannon to save her, inadvertently releasing other robots who had been taken in for service. During the breakout, security robots take photos of them; the ship's computer announces to humans that EVE and WALL-E are renegade robots. Angry, EVE takes WALL-E to an escape pod to send him back to Earth. Before she can put him in the pod, they see Gopher putting the plant in the escape pod. After Gopher leaves, WALL-E goes to rescue the plant but is blasted into space. Before the pod self-destructs, WALL-E uses the emergency escape hatch and a fire extinguisher to exit the pod with the plant. A joyous EVE plays in space with WALL-E and even gives him an appreciative electric kiss. Using the garbage chute, EVE and WALL-E sneak into McCrea's cabin to give him the plant. But Auto (voice: MacInTalk ), the ship's auto pilot system, reveals it was the one who stole the plant earlier. It has no intention of allowing a return to Earth because of a centuries-old directive that was issued when the Earth was believed to be permanently uninhabitable. Auto blasts WALL-E, EVE and the plant back down the garbage chute and confines McCrea to his cabin. WALL-E and EVE barely escape being shot into space with the rest of the refuse but WALL-E is badly damaged. Meanwhile, McCrea has figured out how to hack into the ship's communication system and tells EVE and WALL-E to head to the ship's central deck, where a special machine will return the ship to earth when the plant is placed inside it. With the help of the robots they liberated earlier, WALL-E and EVE make it to the central deck where the special machine has risen from a platform. Auto tries to force the machine back into the platform but is prevented by WALL-E. McCrea manages to stand up on his own and shuts off AUTO. EVE puts the plant in the special machine and the Axiom is whisked back to Earth. WALL-E was grievously crushed in keeping Auto from collapsing the platform. Once they reach Earth, EVE rushes WALL-E back to his garage and repairs him. WALL-E doesn't recognize her and begins to compact garbage. Distraught, EVE holds WALL-E's hand and gives him an electric kiss again. This properly reboots WALL-E. McCrea teaches the other humans how to nurture the plant and heal the planet. It will be much easier than they think because just outside the city, plants have already begun to flourish.

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summary of wall e essay

“WALL-E”: Dystopian Narrative Essay

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The movie WALL-E is an animated story about a robot named WALL-E who is endowed with irrational feeling despite its programmed nature. The robot falls in love with another advanced robot called EVE regardless the impossibility of robotic love. The story, therefore, uncovers the eternal confrontation between science and nature, reason and emotion, consumerism and environmentalism.

More importantly, the film focuses on the current trends in consumption, as well as degradation of humans who are confined to ‘programmed’ means of existence. The protagonist of the story is a robot that should clean up the Earth after it was abandoned by humans.

One the one hand, the story is a science-fiction environmentalist film; on the other hand, the picture is a dystopian narrative revealing the consequences of consumerist culture developed at the present times.

Despite the initial messages that the director intended to deliver, the film can also be recognized as an environmental precautionary tale about the negative consequences of consumption habits of humans. The author focuses on environmental pollution and obesity problems as the leading ones in posing threats to the future of our planet.

In particular, Howey argues, “ WALL-E …is implicated within its own critique; its science-fiction conventions…raise questions about the way humans are “programmed” through education and consumer directives” (45). Moreover, the movie also embraces such important topics as ecological situation and attitude of younger viewers to the current environmental situation.

The dystopian narrative and genre of the film underlines these topics and provides both a fiction and realistic account for what might happen to humanity in the nearest future. In addition, genre conventions, along with the rules of science fiction, promote the engagement of the movie with the issues of programming and consumption.

In particular, the contemporary concerns with garbage disposal are highlighted to create a vivid image of the world future.

To emphasize the consumption patterns of the contemporary society, the movie refers to two types of consumerism. The first one – the consumption of object – results in towers of garbage that human left on Earth.

The second type – the consumption of narratives – is also represented in the movie, particularly in the scene when WALL-E watches Hello Dolly! and interprets the acts. As a result, the director relies to the cultural and social issues of youth, as well as compares current consumers with robotic creatures who are under the influence of media culture and programming.

Although the movie is oriented on youth audience, it still explores such urgent issues as garboard disposal, consumerism, and obesity problems. In this respect, Poore considers the movie as an interpretation of a new reality, the Semantic Web that contains piles of unnecessary information distorting the real world.

By creating the new semantic environments, humans become dependent on machines that are able to navigate the world. In addition, Poore argues, “A critical approach to ontology could take some of the same pathways that critical GIS has taken…but a most effective direction would be to combine ontologies with an examination of the local practices of users as they struggle with the technology” (116).

To enlarge on this issue, humans can also be represented as passive users who are confined to the existing patterns of consumption and who are reluctant to follow new lifestyles that could save the planet.

At the end of the movie, the robots call humans for action and make them believe that the Earth should be rescued from the technological expansion, despite the fact that they are representative of technological progress. Both active humans and machines start working on the Earth’s natural and environmental restoration.

The dystopian features of the movie are also highlighted in the way the directors describes the information realm within robots are working. Humans, therefore, have become too dependent on the information space introduced by the World Wide Web.

In the story, the director emphasizes the virtual expansion, as well as its consequences for humans. Despite the criticism of technological progress, the movie proves that the world can be saved in case both the machines and humans are involved in collaborative work.

The movie is not only a representation of confrontation between human and machines, but an attempt to demonstrate humans that they can also become part of the computerized system. In this respect, the director describes WALL-E as the robot that is endowed with human characteristics.

He is capable of love and compassion and, therefore, he feels extreme anxiety about the future of the planet. In this respect, it is logical that the hero is described as a “intellectual, emotional, or spiritual” being (Beck 92).

The focus on psychological characteristics provides a sufficient explanation for outcomes of human-machine interaction. In the movie, “people are there as a sub-plot, a secondary issue that reflects the dangers of some machines and the generosity and benevolence of our heroes” (Beck 92).

Their aspirations and goals are not oriented on preserving the nature and environment. Lack of awareness of the ecological disaster makes them passive participants in the rescuing activities.

Apart from environmentalist and consumerist issues, the story reveals the themes of loneliness of the protagonist who has to perform his job regardless of his personal goals and aspirations. WALL-E strives to make sense of his actions and escape from solitary existence.

In this respect, Bakes accentuates, “this little robot has the desire to understand what living is all about while people who truly have the gift of being alive have lost it” (93). Humans gave up saving the environment because of the prevalence of commercialism and consumerism dictating future behavioral patterns.

More importantly, the movie emphasizes the inevitability of the destruction until humans become more aware of the consequences of their passive existence. In addition, lack of dialogues makes the movie more focused on the passiveness and reluctance of the humanity to introduce changes.

In conclusion, the movie WALL-E exposes dystopian trends of the contemporary society that is engaged into the technological and scientific progress. In particular, the picture incorporates consumerist and environmentalist issues and compares humans with programmed being who are under the influence of consumption culture.

Within this context, the director refers to the machines as to humanized creatures that are still fighting for the welfare of the Earth. Although the movie presents a science-fiction story, it still calls people for actions to preserve the planet for future generation and contribute to the development of new trends of technological and scientific development.

In particular, both machines and humans should fight for the recovery of the Earth from ecological and social destruction. Society, therefore, should get rid of consumerist patterns and become more aware of the consequences of their stereotypic thinking.

Works Cited

Baker, Frank. W. “The Future According To Pixar: A Wall-E Study Guide”. Screen Education , 51 (2008): 92-97. Web. EBSCOhost.

Beck, Bernard. “Don’t Make Me Laugh: People Are Funny In WALL-E and Tropic Thunder.” Multicultural Perspectives 11.2 (2009): 90-93. Web. EBSCOhost.

Howey, Ann. “Going Beyond Our Directive: Wall-E and the Limits of Social Commentary.” Jeunesse: Young People, Texts, Cultures 2.1 (2010): 45-70. Web. EBSCOhost.

Poore, Barbara S. “WALL-E and the “Many, Many” Maps: Toward User-Centred Ontologies For The National Map.” Cartographica 45.2 (2010): 113-120. Web. EBSCOhost.

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IvyPanda. (2019, April 15). “WALL-E”: Dystopian Narrative.

"“WALL-E”: Dystopian Narrative." IvyPanda , 15 Apr. 2019,

IvyPanda . (2019) '“WALL-E”: Dystopian Narrative'. 15 April.

IvyPanda . 2019. "“WALL-E”: Dystopian Narrative." April 15, 2019.

1. IvyPanda . "“WALL-E”: Dystopian Narrative." April 15, 2019.


IvyPanda . "“WALL-E”: Dystopian Narrative." April 15, 2019.


The Definitives

Critical essays, histories, and appreciations of great films

Essay by Brian Eggert June 27, 2016

wall•e wall e

Somewhere in space, a haze of dormant satellites orbits the not-so-blue planet Earth. Beneath the planet’s rusty outer atmosphere stand ancient skyscrapers, and beside them, towers built from cubes of garbage. In between these towers, a solar-powered trash compacting robot, named WALL•E (Waste Allocation Load Lifter–Earth-class), maneuvers on the dusty trails he’s cleared, accompanied only by a squeaking cockroach companion. All other bots of WALL•E’s kind have been out of commission for some time, perhaps hundreds of years. Still, each day for the bot is the same: In the morning, he powers his solar cell until a Mac startup sound indicates he’s fully charged. Then he heads out into the wasteland, compacts trash into countless cubes and uses them to build his garbage towers, and scrounges for objects to be filed away in his collection of knick-knacks: bobbleheads, a spork, and a diamond ring case (the diamond ring itself does not interest him). Unique among his findings one day is a small plant, a vine with a few pathetic leaves peeking out from a spot of soil. WALL•E files it away inside his shelter amid rows upon rows of other carefully organized curios. As he tidies up, he watches a few scenes from his one and only Betamax cassette, Hello Dolly (1969), and sings the melodic beats of the upbeat “Put On Your Sunday Clothes” followed by the love song “It Only Takes a Moment”, after which he yearns for someone’s hand to hold. After rocking himself to sleep, a day in the life of WALL•E has come to an end, but the solitude and loneliness of this evident dreamer are enough to evoke tears.

WALL•E , Pixar Animation Studios’ ninth feature, and their very best, channels an incredible wellspring of emotion from an unlikely story about the last robot on Earth, filling us with warmth, empathy, and the desire to engage in our world. Written and directed by Andrew Stanton, the film contains a raw emotional center atop of several strains of social commentary, each an exacting reflector designed to rouse its audience out of their cultural apathy. How strange that an animated, G-rated feature should take on how we favor our rampant consumerism over our environment; or the way our pointedly American consumerist drives celebrate technology that isolates us from one another, confining our involvement in the human race and diminishing our own usefulness on the planet. Regardless of these lofty subtexts, WALL•E is foremost a love story, and a particularly joyous and moving one at that. With a perfect balance of poignant storytelling and inescapable meaning, WALL•E also remains unique for being an almost silent, mostly dialogue-less, largely pantomimed film. From its themes to its execution, Stanton and his team of animators design a resounding work of commercial art. More than any other Pixar release, it puts forth animation not as a genre unto itself, but as a medium in which the possibilities are limitless.

summary of wall e essay

Not until long after Pixar had established itself would the writer-director return to the idea of an isolated robot left on Earth. During the final stages of Finding Nemo ’s production, Stanton remembered his lone survivor robot idea and steeped himself in the concept that would eventually become WALL•E —though he did not yet know why humans had left Earth, nor did he know his robot’s name. He became engrossed, exploring the main character’s design. He pondered how to establish the robot’s situation with elegant animation, emphasizing physical behavior over words. Fortunately, Finding Nemo ’s massive performance at the worldwide box-office afforded Stanton leverage to explore his ideas with Pixar and the distributors at Disney. In 2004, Stanton should have been on vacation after his long production on Finding Nemo ; instead, under the radar, he developed the first twenty minutes of the picture with just a few storyboard artists and an editor on his team. Finally, he presented his developmental work to Pixar’s foremost executives, John Lasseter and Steve Jobs, who greenlit Stanton’s concept.

summary of wall e essay

Stanton implemented an expressive character design, but when early images of WALL•E first appeared, detractors noted similarities between the film’s titular robot and Number 5 from Short Circuit (1986), or even the short, hunched alien from E.T. The Extra-Terrestrial (1982). However, Stanton insisted any inspiration from those films remains “unconscious”, and the true inspiration for WALL•E’s look comes from binoculars: “You don’t need a mouth, you don’t need a nose, you get a whole personality just from [them].” The adage about eyes being the window to the soul comes to mind. Stanton’s other major influence was expanding upon the look of Luxo Jr., the bouncing lamp who appears on Pixar’s animated logo.But, rather than imbue WALL•E with easily recognizable, personified features, Stanton sought to create a functional robot first, and then work within the design’s limitations to project human qualities. Being a trash-compacting bot, he gave WALL•E a functional square torso and tank tread. His neck extends, allowing his head to tilt in confusion, pull back in surprise, or eke forward in curiosity. None of these features conveys as much emotion as WALL•E’s reflective eyes: two lenses, each in framework set at an upturned, vulnerable angle, capable of expressing worlds of emotion at the change of their position.

summary of wall e essay

Stanton further tested himself by giving WALL•E an earthbound sidekick, a cockroach, a character just as unlikely and challenging—and just as frequently associated with vermin—as the rat in Ratatouille . Stanton puts forth the cutest squeaking cockroach ever put to film; he could have chosen an adorable mouse or something more traditional, but his choice was logical since cockroaches are known survivors of earthly catastrophe. As with many aspects of the film, Stanton wasn’t interested in taking the easy way out. For example, it would have been much easier if Stanton just wrote actual dialogue for WALL•E to speak; except, he was far more interested in delivering a kind of silent film to his audience, where characters don’t exactly speak, but they share expressive phrases like “ta da” and “whoa”, or each other’s names. The effect is something like a Charles Chaplin picture, watching a rambunctious but hopelessly romantic hero. Early in the film, the arrival of a scouting vessel interrupts WALL•E’s routine. A slick, white robot named EVE appears like an Apple-brand egg born from a massive spaceship. She might be a mindless procedure bot, except when her vessel leaves, she jets across the dusty landscape, free.

summary of wall e essay

When WALL•E was first advertised, the trailers appropriately borrowed composer Michael Kamen’s hectic typewriter theme from Brazil (1985), Terry Gilliam’s wondrous, yet fatalistic look at the stifling bureaucracy of modern society. WALL•E is not unlike the hero of Gilliam’s film, Sam Lowry, played with awkward perfection by Jonathan Pryce. Both are lonely individuals awakened by imagination and love; and in pursuit of that love, both interrupt carefully regimented processes of the all-powerful System, and ultimately the status quo, with their heroic and romantic quest. Fortunately, WALL•E’s journey proves far more successful than Lowry’s complete mental breakdown in Brazil ’s final sequence, but the comparisons remain. With his arrival in Axiom, WALL•E interrupts the smoothly running system of automation, whereby humans have devolved into bulbous, helpless, baby-like drones. A varied workforce of robots takes care of every chore and answers every human need, leaving the humans to grow wider and more complacent. In the quarters of Axiom’s Captain (voiced by Jeff Garlin), we see the long line of captains before him, and how humans have progressed from real-life humans into increasingly fat, and increasingly animated, blobs.

summary of wall e essay

Technology is not inherently bad. Automation creates the potential of having more free time to explore the things that interest or excite us—to make further advancements in our personal relationships or the betterment of humankind. However, humans, both in the film and in real life, have become lazy and self-satisfied, dependent on automation, increasingly helpless, and ever more distanced from one another by the conveniences that were meant to bring us closer together. Stanton hopes to snap his audience out of complacency so they engage in the world, to see and interact with the natural beauty of the Earth and each other. “I wanted to show that our programming is the routines and habits that distract us to the point that we’re not really making connections to the people next to us,” Stanton said. And while audiences often read the film’s depiction of overweight humans as a critique of the American obesity epidemic, WALL•E has more to say about humans disengaging from life and allowing automation to transform them into a helpless species. A crumbling environment and obesity are two symptoms of a much deadlier disease: indifference.

summary of wall e essay

Another borrowed musical cue comes from Stanley Kubrick’s 2001: A Space Odyssey (1968), when the Captain, determined to confront AUTO, struggles to get out of his hover chair, and finally rises to his feet—a moment set to the crescendos of Johann Strauss’ Thus Spake Zarathustra , as popularized by Kubrick’s use of the piece. Likewise, AUTO bears a cagey resemblance to HAL-9000 from Kubrick’s film and goes just as mad, locking the Captain in his quarters and taking over Axiom. Indeed, AUTO even ejects our hero into space, not unlike HAL-9000 did to an ill-fated human crewmember. Fortunately, WALL•E survives the vacuum and dances in weightlessness alongside EVE, one of the film’s most enchanting scenes. WALL•E ’s final set of references comes during the end credits, which chronicle what happened to humanity after recolonizing Earth, and does so by a historical progression of art forms. This gorgeous sequence charts the styles of ancient cave paintings, mosaics, frescoes, impressionism, and so on, alongside the advancement of humanity on the newly recolonized Earth. At the end of this artistic progression should have been Pixar, the latest form of high art. However, as the end credits scroll upward, digitized 8-bit animations of WALL•E, EVE, and their cockroach friend appear. Perhaps this marks the origins of computer animation, which led to Pixar’s arrival as the premier animation house working in cinema.

summary of wall e essay

In their dependence on punchy colloquialisms, meta-humor, and attention-deficit animation, other animation studios lend little substance to their animated “family” or “children’s” entertainment. In fact, entertainment, and entertainment alone, is often what animation houses like DreamWorks, Fox, and others have resolved to produce. With its earlier titles, and in particular WALL•E , Pixar, too, offers entertainment, but of another kind entirely. Their entertainment transcends the otherwise limitless visual possibilities of animation to fulfill a rare narrative significance. WALL•E stands as the studio’s crowning achievement: just as experimental as Luxo Jr. , just as revolutionary as Toy Story , except a far more singular work of art than anything they produced before or after. It’s a masterpiece among Pixar’s many masterpieces. Artistic yet accessible, poignant without overt sentimentality, and enlightening without being preachy—Stanton and Pixar achieved a motion picture that goes beyond what any major animation studios have done, or even aspire to do. Their elegant animation realizes a world teeming with life. And how extraordinary that a small robot, with limited speech and only the expressions on his mechanical face, serves as a conduit for that like. WALL•E represents humanity’s innate desire for love, and a greater feeling of connectedness to everything around us, in a film that is a work of art first, commercial cinema second.


Auzenne, Valliere Richard.  The Visualization Quest: A History of Computer Animation . Madison, NJ: Fairleigh Dickinson University Press, 1994.

Price, David A.  The Pixar Touch . New York: Knopf, 2008.

Thomas, Bob.  The Art of Animation . New York: Simon & Schuster, 1958.


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Wall-e movie review and analysis of the main message.

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Lessons Any Businessman Can Learn from the Movie Wall-E

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The Movie Review: 'Wall·E'

For over a dozen years now, the best name in American film has been Pixar. No movie star, no director, no writer, producer, or studio approaches its level of consistent excellence. Even Pixar's weaker offerings ( A Bug's Life , Cars , and--in my moderately heretical view-- Finding Nemo ) have exceptional depth and texture, moral as well as visual. And its best efforts ( Toy Story , The Incredibles ) are simply transcendent, rivaling the finest live-action films in sophistication and sentiment.

Pixar's newest movie, WALL·E , is firmly in the latter tier, and quite possibly at the top of it. It is, in a word, a marvel, a film that recalls in equal measure Hollywood's most evocative future visions-- Blade Runner and Brazil , E.T. and 2001 --and the silent intimacies of Buster Keaton and Charlie Chaplin. It is a story about love and loneliness, perseverance and triumph, the possibilities and pitfalls of human existence. That this story is told by way of the exploits of a tiny, faceless robot only makes it more extraordinary.

The movie, written and directed by Finding Nemo 's Andrew Stanton, opens to the strains of Hello Dolly 's "Put on Your Sunday Clothes" as the virtual camera closes in from space on an abandoned Earth, its air choked with smog and land littered with debris. (The contrast between celebratory song and dystopian vision seems a nod to Brazil , whose titular tune was also borrowed for one of the WALL·E previews.) Soon we arrive at a desolate cityscape, where empty skyscrapers jockey for position with strange, craggy spires that jut upward like outstretched fingers a thousand feet tall.

It is a profoundly creepy image, and one that becomes none the less so when we learn that these mighty summits are in fact piles of garbage, compacted into cubes and neatly stacked to the sky by an industrious little Waste Allocation Load Lifter: Earth class--a.k.a. WALL·E. The humble robot, which resembles a toaster oven on tank treads with binoculars attached on top, has been dutifully building these celestial ziggurats for hundreds of years now, and he's been doing it alone: Human beings have long since fled the polluted planet and his fellow machines have been shut down or worn out. His professional obligations aside, WALL·E is also, like the Little Mermaid before him, an inveterate collector of human detritus: discarded silverware and lighters, a Rubik's Cube, a battered videotape of Hello Dolly .

One day, however, his routine is dramatically interrupted by the arrival of an immense star cruiser, and on it, a robot of another sort altogether: floating effortlessly above the ground, humming softly, as smooth and white and unblemished as an egg. (It comes as no surprise that renowned Apple design guru Jonathan Ive consulted on the look.) WALL·E is smitten, though his ugly-duckling-and-the-swan courtship is complicated by this particular swan's possession of atom blasters and a shoot-first mandate. Still, WALL·E persists, eventually introducing "EVE" (an Extraterrestrial Vegetation Evaluator) to the irresistible attractions of bubble wrap and twinkle lights. It's clear he would travel to the ends of the Earth for her.

As it happens, he has to go much farther than that. Without spoiling the details--this is truly a film better experienced than explained--WALL·E follows EVE deep into space, where he discovers what has gone wrong with the human race and undertakes, with typical diligence, to fix it. This latter half of the film is familiar Pixar: a touch formulaic, perhaps, but executed with exceptional wit, intelligence, and panache. And while the film's moral lessons--about the seductions of comfort and importance of effort, the proper relationship between man and machine, the need to clean up our own messes--are not unexpected, they are, like previous Pixar homilies ( Toy Story 2 on commodification, Cars on commerce versus community, Ratatouille on the joy of creation), woven seamlessly into the overall fabric of the film. Neil Postman and Aldous Huxley would be proud.

Characteristically sharp as this second half is, though, it's the earlier, Earthbound portion of the film that lingers, the quiet, nearly dialogue-free moments alone with WALL·E and the problematic object of his affections. That Pixar could make this ambulatory trash compactor so expressive, could convey his longing and loneliness so emphatically simply through the images reflected in his binocular lenses, is a cinematic miracle. You might have to go back the better part of a century to find a mainstream movie in which so much is conveyed with so very few words.

It would be easy to go on about the sheer visual beauty of WALL·E , which marks yet another milestone in the evolution of animation. Oscar-nominated cinematographer Roger Deakins ( No Country for Old Men , The Assassination of Jesse James by the Coward Robert Ford ) was even brought in to consult on the look of the film and offer advice on its "lighting." But, in the end, this technical mastery is less remarkable than the humanistic ends to which it is applied.

It is an irony of Pixar's oeuvre that its films so often feature inanimate objects (toys, cars, robots) that offer lessons in what it means to be human. But, deliberately or not, these stories appear to be refractions of a sort, retellings of the story of Pixar itself: the high-tech start-up at the cutting age of digital animation which, again and again, reminds us of the power of motion pictures--even ones about robots--that possess a vital, beating heart.

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Home — Essay Samples — Entertainment — Wall-E — “Wall-e”: How Technologies Will Evolve in the Future


"Wall-e": How Technologies Will Evolve in The Future

  • Categories: Film Analysis Wall-E

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Words: 1401 |

Published: Nov 8, 2019

Words: 1401 | Pages: 3 | 8 min read

Works Cited

  • Bui, T. N. (2020). The Influence of Technology on Society: A Review. International Journal of Advanced Research in Engineering and Technology, 11(8), 211-221.
  • Feldman, D., & Sivakumar, K. (2018). Technology and Well-being: A Framework for Understanding the Relationship. Journal of Marketing, 82(5), 1-18.
  • Kim, S. H., Baek, Y. M., & Oh, J. (2018). The Effects of Technology Use on Leisure Engagement: The Moderating Role of Leisure Time. Journal of Leisure Research, 50(1), 60-77.
  • Kralikova, R., Kubatova, D., & Selamat, M. H. (2021). The Impact of Technology on Family Communication: A Literature Review. Human Communication Studies, 17(1), 21-38.
  • LaRose, R., Lin, C. A., & Eastin, M. S. (2003). Unregulated Internet Usage: Addiction, Habit, or Deficient Self-Regulation? Media Psychology, 5(3), 225-253.
  • Lewis, K., Kaufman, J., & Christakis, N. (2008). The Taste for Privacy: An Analysis of College Student Privacy Settings in an Online Social Network. Journal of Computer-Mediated Communication, 14(1), 79-100.
  • Maguire, R., & Mosher, D. (2020). The Influence of Technology on Social Interactions: A Review. Journal of Technology in Human Services, 38(3), 209-227.
  • Moyle, W., Jones, C., Murfield, J., & Thalib, L. (2020). Use of Social Robots in Aged Care: A Systematic Review. Gerontology, 66(6), 619-628.
  • Rosen, L. D., Whaling, K., Rab, S., Carrier, L. M., & Cheever, N. A. (2013). Is Facebook Creating “iDisorders”? The Link between Clinical Symptoms of Psychiatric Disorders and Technology Use, Attitudes and Anxiety. Computers in Human Behavior, 29(3), 1243-1254.
  • Zhang, Y., Fu, W., & Cai, Y. (2019). Smartphone Addiction and Social Capital in China: An Analysis of Routine Activities Mediation Model. Telematics and Informatics, 46, 101259.

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Related Essays on Wall-E

WALL-E, a 2008 animated film by Pixar, is often celebrated for its heartwarming story and stunning visuals. However, beneath its surface, the film also contains a number of satirical elements that comment on modern society. [...]

Wall-E is a 2008 Pixar film that tells the story of a lonely robot that cleans up the trash-covered Earth while dreaming of finding love. Through its satirical portrayal of contemporary society, modern technology, and [...]

Wall- e is a kind of animated science fiction film directed by Andrew Stanton in 2008. The film perfectly depicts possible consequences of consumerism and over reliance on technology. Even though some blame technology to be the [...]

Pixar’s WALL-E is a creatively and brilliantly animated children’s movie. Though entertaining, it has an underlying message and warning. This film represents a dystopian community, perhaps portraying America’s supposed future, [...]

The Lorax, a book by Dr. Seuss that resembles a Hippie nightmare, is a work of art in threading together a global disaster with a fun, cheery children's book. As a viewer of the film and book, I find that both works show the [...]

In 2003 Pixar produced Andrew Shanton’s script of Finding Nemo. This movie tells of the journey of a clown fish, named Marlin, across the ocean to find his son, Nemo. Along the way he encounters many different dangers, marine [...]

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Wall-e Essay Examples

Caring about the environment in wall-e.

The 2008 film WALL-E is a sci-fi, romance, comedy animation that explains the issues we have with the world today. The director Andrew Stanton had spread this message beautifully and won an Academy Award for best animation 2008 and topped 200 million dollars on its...

Critical Review of the Movie Wall-e

The year is 2008. I was around eight years old when I first saw an advertisement for this movie while watching Nickelodeon. The trailer really got me excited for the movie because I was always fascinated with robots and space as a kid. Now looking...

Stanton's Warnings and Messages to People in the Movie Wall-e

In Andrew Stanton's dystopian and post-apocalyptic movie 'WALL-E', several warnings and messages are promoted by Stanton to make sure our planet does not become the same Earth from Stanton's prophetic film WALL-E. His warnings consist of but not limited to over-reliance on technology, the importance...

Comparative Analysis of Wall-e and Toy Story

Every child born from the late 1990s and on has most likely grown up with this in common: watching Pixar movies. Pixar Animation Studios has been producing animated films for years, and have made 21 feature films as of 2019. Movies from Pixar often come...

The Film Wall-e as a Contrast to Silent Films

The film WALL-E directed by Andrew Stanton follows a trash compactor robot named WALL-E who is now collecting all the garbage of an uninhabitable Earth. Humans haven’t resided in Earth over 700 years and have been sent to space by the Buy n Large (BnL)...

Catastrophic Consequences of Human Caused Climate Change

After their release of the first ever feature-length movie made entirely from CGI, Pixar Animation Studios quickly became a cultural phenomenon, shaping the childhood of millions around the globe – including my own. Toy Story (1995) made the company over $361 million dollars and paved...

Science Fiction Has Impacted the World of Today and Will It Shape the Future

Wall-E and Star Trek take place in futures made possible by dramatic advances in automation both stories prominently features robots and computers that has fundamentally changed how humanity lives and works, yet their interpretations of what an automated future might look like couldn’t be further...

The Brief Description of Wall-e

Science Fiction is a continually changing genre of literature that has changed the course of American writing as well as literature around the world. It is an irresistible power in American literature that will keep on altering the literature. Science Fiction is a huge part...

Wall-e: Return Humanity to Earth

The questing hero’s journey is an archetypal plotline that storytellers from all ages have used to represent some fundamental truths about the meaning of life itself. In WALL-E, director Andrew Stanton depicts WALL-E the robot's quest to return humanity to earth. On the surface, WALL-E...

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