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It exists safely within the vast subgenre of postcollapse afterscapes, but it does what it does well, with nicely drawn characters, a sense of cultural mythmaking, and freakishly unsettling creatures.
I laughed a lot while also feeling sick to my stomach. As subtle as a sledgehammer, almost obnoxious… and yet it might as well be a documentary. Is it elegant? Is it art? Who the fuck cares?
Apocalyptically sorta-satirical, bone-deep terrifying slap in the face that humanity has properly earned. Formidable, intense… and funny, in a very dry way that is nevertheless difficult to laugh at.
A marvel of a sequel that smartly avoids any attempt to recapture the original, instead expanding its world in every way possible. Brisk, crisp, efficient, and full of masterful sequences of suspense.
An apocalypse unlike any onscreen before. A film often almost unbearably tense, in part because it audaciously reconsiders the role sound plays in eliciting our emotional response.
Stakes out its own fresh place in an SF subgenre that is well played out, and rehumanizes it ways that are both extraordinarily moving and deeply unnerving.
Astonishing. Achieves its grotesque, magnificent brutality in an old-fashioned way that serves as a smackdown to bloated, sterile CGI monstrosities.
Wall-E is practically religion. It’s spiritual in the secular sense, asking us to contemplate the great things we are capable of, and how we so frequently fail to even try to live up to that potential.
Compulsively compelling, in the same way that you just can’t help but glance through the Weekly World News while you’re standing online at the supermarket checkout.
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