Put on your Sunday Clothes: T-minus 2 days until launch
It’s Wednesday of premiere week and still no A.O. Scott or Stephanie Zacharek filling the WALL•E profile on Rotten Tomatoes. The only thing posted as a top critic is Richard Roeper’s review and when you click the link to read more, the review does not exist! An attempt to creating a compilation post of various reviews has proven unfruitful as the overall silence amongst the critic heavyweights is deafening.
What appears as a display of silence and secrecy in reality is perhaps an inability to write about this film in normal review writing fashion. How does one write a review for a film that converges past (Keaton, Chaplin, and Lloyd), present (3D animation), and future (the destruction of Earth)? How does one translate the pantomime of a curious archiving robot into a writing style that requires an end point such as “Will be successful domestically, but mediocre internationally”? How can one not want to say and write more about this film than what is allotted to them on page E1 and E15 of the Art & Entertainment section of the paper?
In any case, here at Le Repertoire, we cannot express the level of excitement of this film’s premiere to the world. Yes, some of us may have a certain bias, ahem, but WALL•E is the second film, beginning with Ratatouille, to concrete the new wave of Pixar films, quite parallel to the Disney Renaissance of the mid-1990s. However instead of a re-invention of the musical via feats of 2D animation and solid melodramatic stories, the Pixar Renaissance shines through the depth of their stories that provide an open door for technological advances in animated shot composition.
Here are a few words from reviews that have been published (more to come):
Richard Corliss (Time) writes: Yet, as we spot the fret lines above his eyes and see the carcasses of other robots on the junk heaps, we realize that WALL•E is a lonely guy. There’s an instant poignancy to his puttering around the late, great planet Earth like a solitary child on an abandoned playground, or an oldster among his souvenirs. WALL•E’s special ache is his nostalgia for a life he never lived, for the intimate connection only humans enjoy.
Robert Wilonsky (Village Voice) writes: Many will attempt to describe WALL-E with a one-liner. It’s R2-D2 in love. 2001: A Space Odyssey starring The Little Tramp. An Inconvenient Truth meets Idiocracy on its way to Toy Story. But none of these do justice to a film that’s both breathtakingly majestic and heartbreakingly intimate—and, for a good long while, absolutely bereft of dialogue save the squeals, beeps, and chirps of a sweet, lonely robot who, aside from his cockroach pet, is the closest thing to the last living being on earth…Such reverence for movie history in general and sci-fi in particular is vital to the story, because it’s what ultimately gives WALL-E its wow factor and its weight—this reinvigoration of the past on the way to the future of filmmaking. (Charlie Chapin … in space.)
Mark Millar (creator of the graphic novel for which competing film Wanted is based on) states: Wanted 2 already being planned and they’ve asked me how I can develop some of the other stuff from the book into the sequel. We’ll see what box office is like at the weekend, but everyone knows this is going to make a LOT of dough…Wall-E permitting. Fucking bastard of a wee robot.