Critic Reviews

A film that's both breathtakingly majestic and heartbreakingly intimate.

The visual design of Wall-E is arguably Pixar's best. Stanton, who wrote the script with Jim Reardon from a story he concocted with Peter Docter, creates two fantastically imaginative, breathtakingly lit worlds.

While I may argue with the little guy's taste in musicals, it's remarkable to see any film, in any genre, blend honest sentiment with genuine wit and a visual landscape unlike any other.

A charming, hilarious robot love story aimed at the entire family.

At once futuristic, funny and fantastical.

The idea that a company in the business of mainstream entertainment would make something as creative, substantial and cautionary as WALL-E has to raise your hopes for humanity.

It's Pixar's most daring experiment to date, but it still fits neatly into the studio's pantheon: Made with as much focus on heart as on visual quality, it's a sheer joy.

It whisks you to another world, then makes it every inch our own.

The first 40 minutes or so of Wall-E -- in which barely any dialogue is spoken, and almost no human figures appear on screen -- is a cinematic poem of such wit and beauty that its darker implications may take a while to sink in.

The first half hour of WALL-E is essentially wordless, and left me speechless. This magnificent animated feature from Pixar starts on such a high plane of aspiration, and achievement, that you wonder whether the wonder can be sustained. But yes, it can.