Film / Wall-E
by There are two types of adorable: Pre-Wall-e, and Post-Wall-e. Pre-Wall-e adorable is the type of adorable that Suri Cruise and palm-sized furry creatures inspire. Wall-E takes this definition of adorable to a-whole-nother new level. So sweet is Pixar’s new offering that my eyes started to secrete this saline substance that is commonly referred to as tears. I had to bow my head and start pretending that the child next to me had set off my hayfever. Again.
I don’t know why I was surprised about this though. Pixar’s last offering – the highly successful French rat in the kitchen — also inspired similar moisture around the eyes. In fact, all their cinema release features have such a tear-jerking quality that, maybe, Pixar should be officially welcomed into the onion family. Except no one is ever truly fine about hanging with the onions.
But enough of the tissues; what we’re really all here for is one of those super cute, highly enjoyable, well-made feature films that Pixar is so good at making. Their track record should be enough to bring hoards of screaming children swarming in to fill seats with their booster-seated bums and, frankly, Wall-e doesn’t disappoint on all counts.
What we have is not only a sickly sweet film that is well-written and well-produced, but it is a feature that even touches on some contemporary issues that will leave about 20 per cent of said screaming children looking at their chocolate smeared fist, wondering whether they should go eat a carrot stick instead. For me, anything that has that kind of result equals good times ahead.
Tagged: animation, aninated movies
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