The universe we live in is remarkable. It’s beautiful, massive beyond comprehension and is filled with wonder and mysteries. The fact that life even came to be is extraordinary considering the chain of events that occurred over billions of years for things to take on their present form: humans included. Yet, we can forget this. To quote Terry Pratchett: “…in a universe so full of wonders, they (humans) have managed to invent boredom.” Pixar’s latest animated feature film, Wall-E, is here to remind us how remarkable life, the universe and everything can be.

Yet, far from being a wholly optimistic film, Wall-E is filled with potent concepts and a cynicism that takes after my own bitter heart. First of all, the premise is grim. Set 700 years in the future, Earth has been abandoned and all that remains is a rubbish filled wasteland an army of intelligent Wall-E robots designed rot clean the planet. However, over the centuries all but on of these robots have broken down leaving just one Wall-E unit left with the dauntingly massive task of cleaning the planet. Stated explicitly like this, the premise especially stark. But the genius lies in the way the narrative is told. The state of the planet is revealed slowly with very little dialogue, told instead as we follow Wall-E past remnants of society which hint at the story, such as the sight of masses of dead Wall-E units and the billboards that line the dusty roads. In this skeleton world, Wall-E is a welcome companion. Adorable and charming, Wall-E finds the planet a fascinating place to explore, even collecting interesting knick knacks that remain. The film begins as a mystery, asking the question: what happened? But it’s also a character piece. Though a machine, Wall-E is highly anthropomorphised and is particularly curious and terribly lonely. The character and the mystery meld beautifully when Wall-E’s curiosity and desire for friendship inadvertently lead him towards the answers.

Though Pixar have a serious story to tell, Wall-E is a strong comedic character. Often unaware of the full scope of things and yet often the catalyst, Wall-E is ridiculously charming thanks to his pathos humour and his expressiveness. With his speech ability limited to basic sounds (voiced by Ben Burtt; also sound designer), Wall-E’s communication is beautifully expressed by what little he does say, the sound of his mechanical body and (most importantly) how he moves. For all it’s details, dust and scratches, Wall-E’s design is wonderfully simple. He is a metal box with treads, short metal arms and a pair of eye-like lenses. Yet it’s amazing how much is conveyed by the re-adjusting of a lens or the movement of a metal claw. Though aided by occasional moments of dialogue or a clue within the scenery, the story is mostly expressed through the characters performance. Superbly animated, the narrative and the characters read incredibly well. For this, Wall-E is comparable to another animated film that is even more devoid of dialogue: The Triplets of Belleville.

Another valid comparison would be with 2001: A Space Odyssey for its meaningful use of the science fiction genre. For all the intermingling humour and adventure in Wall-E, the film is first and foremost about expressing potent ideas concerning human society and the universe. Without giving anything away, the portrayal of humans in this film is deeply cynical, yet not at all untrue. Just as there are magic moments, such as when Wall-E soars beneath the ice rings of Saturn, there are also grim, honest insights into human nature. The sight of Earth as viewed from space, muddied and encased in thick layer of space junk is heart rending. It’s a beautifully realised film dealing with heavy subject matter, but through it all Wall-E himself is the most human of all.

And yet, here is also where the film runs into some trouble. By mainstream standards Wall-E is a highly unconventional film more akin to 2001: A Space Odyssey than Finding Nemo. (On side note, Wall-E is directed by Andrew Stanton who also directed Finding Nemo.) There a sense of the film having to strike a balance between appealing to both younger and older audiences. It could be argued that it may have been better to stretch the film out, 2001: A Space Odyssey style. But then again, that may have ended up being overindulgent. As is, the film moves along nicely, letting moments play out at their pace while still keeping the story going along nicely. That said, this isn’t really a kids film. Pixar have always made films that they themselves enjoy making – and they just happen to appeal to both adults and kids. Wall-E however, is something else all together. While there’s plenty of charm in Wall-E himself, the physical comedy and a number of exciting chases, it’s an unusual film for children to watch as it also includes a deeply cynical and critical view of humans, music and films of a past era, many moments of genuine danger and most of the film is one big slow reveal.

Regardless of this trouble of finding which audience to aim for, it’s still nicely paced with an appealing blend of cynicism and optimism. It’s also film with which you’re able to connect with deeply, thanks to a beautifully articulated vision of the future and an endearing cast of characters. It’s moving, entertaining, intellectual and endlessly discussable – though not quite perfect. It is still brilliant and Pixar’s magnum opus.