In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.In the distant future, a small waste-collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.
- Won 1 Oscar
- 96 wins & 95 nominations total
Elissa Knight
- EVE
- (voice)
Jeff Garlin
- Captain
- (voice)
John Ratzenberger
- John
- (voice)
Kathy Najimy
- Mary
- (voice)
Brian Cummings
- Axiom Passenger
- (uncredited)
- …
Karleen Griffin
- Mom
- (uncredited)
- …
Kim Kopf
- Hoverchair Mother
- (uncredited)
Niki McElroy
- Pool Mother
- (uncredited)
Garrett Palmer
- Blond Boy in Commercial
- (uncredited)
Lori Richardson
- PR-T
- (uncredited)
- …
Jessica Skelton
- Young Girlfriend
- (uncredited)
Kai Steel Smith
- Brunette Boy in Commercial
- (uncredited)
Michael Toy
- Commercial Human
- (uncredited)
Storyline
Did you know
- TriviaWALL·E stands for: Waste Allocation Load Lifter: Earth Class. EVE stands for: Extra-terrestrial Vegetation Evaluator.
- Goofs(at around 1h 19 mins) When the Axiom goes into a roll, the passengers and a considerable amount of heavy equipment are thrown off balance, rolling and piling up against one side of the common area. This should not happen as the gravity originates within the ship, not from an exterior source "beneath" it. Its artificial gravity should hold everyone and everything right side up no matter what position it assumes. It is possible that AUTO intentionally or inadvertently shifted the angle of the artificial gravity during the "roll" maneuver, but it was still presented as being directly caused by the roll, and there is no reason for such an effect to have been designed into the ship originally.
- Crazy creditsThe Pixar logo at the end has the lamp Luxo Jr's light bulb burn out, so WALL-E enters and replaces the light bulb. But as he leaves he accidentally knocks down the "R" in the logo, and he tries to cover it up by posing like an "R".
- Alternate versionsEnd credits for international versions feature additional dubbing credits footage. It contains animation of WALL·E in the same 8-bit video game graphics style as the original end credits compacting two vertical rows of different objects into cubes of garbage only to have two WALL·A robots collide in the front of the screen, closing the credits.
- ConnectionsEdited into Burn-E (2008)
- SoundtracksDown to Earth
Music by Peter Gabriel and Thomas Newman
Lyrics by Peter Gabriel
Performed by Peter Gabriel, featuring The Soweto Gospel Choir
Produced by Peter Gabriel
L.A. Sessions Produced by Thomas Newman
Recorded by Richard Chappell
Mixed by Tchad Blake
Featured review
Who says popular films can't be art? "WALL·E" is magical
Who says popular films are not and cannot be art? If anything is proof that popular films can be of a stunningly high quality, the beauty of the animation, writing, music, and sound design in "WALL·E" is it. "WALL·E" eclipses even Andrew Stanton's "Toy Story" and "Toy Story 2" in the Pixar pantheon, is perhaps Pixar's best film to date and, call me crazy as I've just seen it, a contender for the title of best animated film, period.
"WALL·E" is everything we've come to expect from Pixar and more- colorful, vibrant, imaginative, exciting, involving, beautiful, and most importantly a film with interesting, involving characters. Sure, WALL·E is adorable, and as much credit as the animators get for that, this film would be nothing without Stanton's screenplay, which features very little dialogue but is still notably intelligent and surprisingly subtle, making a refreshing change from the 'go green' campaigns we're all so used to. Does "WALL·E" have a message? Sure, but it's an important message and it is delivered subtly and beautifully.
"WALL·E" operates on two levels (and works spectacularly well on both). It is a majestic science fiction epic like we haven't seen in a couple of decades and it is a genuinely touching and never cheap romance. "WALL·E" will never get points for originality but it doesn't exactly need them because the homages to great films and figures of the past- Chaplin, Keaton, Tati, the Marx Brothers, "2001: A Space Odyssey" (this one is particularly spectacular), "Close Encounters of the Third Kind" are actually homages and not ripoffs. "WALL·E" is a wonderful tribute to a bygone cinematic tradition (well, two or three of them actually).
The social commentary in "WALL·E" is sobering because it's never overbearing and most importantly because we see the world through machines, machines who feel more about Earth and life than the humans do. The depiction of humans on the ship could have been incredibly offensive, cheap, and tasteless in concept but the execution here is absolutely perfect.
What is most surprising about "WALL·E" is how sad it is. Not even in the 'how will they get out of this, oh I feel so sorry for them' way "Finding Nemo", a previous Stanton effort, is, but in a truly melancholy sense. The early portion of the film maintains all the playfulness of a Jacques Tati film but also evokes a striking and powerful feeling of loneliness. It's a brilliant introduction to WALL·E, given that the rest of the film is too wacky to bother with long scenes focused entirely on character, and works beautifully with the ugly yet beautifully-rendered future Earth, a barren wasteland filled with nothing but garbage, a seriously resilient cockroach being WALL·E's only companion before EVE shows up, but I won't go into the story- it's best you see it unfold for yourself.
From the entertaining shorts shown before the film to the memorable characters, locations, and animation we have come to expect, Pixar films are now event cinema, and they have outdone themselves with "WALL·E". This film is spectacular, majestic, touching, involving, and achingly beautiful. Most importantly, however, it is perfect entertainment. I may be saying this too soon, but I don't think I have ever seen an animated film that has satisfied me more than "WALL·E", and 2008 is going to have to work hard to keep this from being the top film of the year, which it most certainly is at the moment.
9.5/10
"WALL·E" is everything we've come to expect from Pixar and more- colorful, vibrant, imaginative, exciting, involving, beautiful, and most importantly a film with interesting, involving characters. Sure, WALL·E is adorable, and as much credit as the animators get for that, this film would be nothing without Stanton's screenplay, which features very little dialogue but is still notably intelligent and surprisingly subtle, making a refreshing change from the 'go green' campaigns we're all so used to. Does "WALL·E" have a message? Sure, but it's an important message and it is delivered subtly and beautifully.
"WALL·E" operates on two levels (and works spectacularly well on both). It is a majestic science fiction epic like we haven't seen in a couple of decades and it is a genuinely touching and never cheap romance. "WALL·E" will never get points for originality but it doesn't exactly need them because the homages to great films and figures of the past- Chaplin, Keaton, Tati, the Marx Brothers, "2001: A Space Odyssey" (this one is particularly spectacular), "Close Encounters of the Third Kind" are actually homages and not ripoffs. "WALL·E" is a wonderful tribute to a bygone cinematic tradition (well, two or three of them actually).
The social commentary in "WALL·E" is sobering because it's never overbearing and most importantly because we see the world through machines, machines who feel more about Earth and life than the humans do. The depiction of humans on the ship could have been incredibly offensive, cheap, and tasteless in concept but the execution here is absolutely perfect.
What is most surprising about "WALL·E" is how sad it is. Not even in the 'how will they get out of this, oh I feel so sorry for them' way "Finding Nemo", a previous Stanton effort, is, but in a truly melancholy sense. The early portion of the film maintains all the playfulness of a Jacques Tati film but also evokes a striking and powerful feeling of loneliness. It's a brilliant introduction to WALL·E, given that the rest of the film is too wacky to bother with long scenes focused entirely on character, and works beautifully with the ugly yet beautifully-rendered future Earth, a barren wasteland filled with nothing but garbage, a seriously resilient cockroach being WALL·E's only companion before EVE shows up, but I won't go into the story- it's best you see it unfold for yourself.
From the entertaining shorts shown before the film to the memorable characters, locations, and animation we have come to expect, Pixar films are now event cinema, and they have outdone themselves with "WALL·E". This film is spectacular, majestic, touching, involving, and achingly beautiful. Most importantly, however, it is perfect entertainment. I may be saying this too soon, but I don't think I have ever seen an animated film that has satisfied me more than "WALL·E", and 2008 is going to have to work hard to keep this from being the top film of the year, which it most certainly is at the moment.
9.5/10
helpful•1K147
- ametaphysicalshark
- Jun 27, 2008
Details
- Release date
- Countries of origin
- Official sites
- Language
- Also known as
- Wall-E
- Filming locations
- Production companies
- See more company credits at IMDbPro
Box office
- Budget
- $180,000,000 (estimated)
- Gross US & Canada
- $223,808,164
- Opening weekend US & Canada
- $63,087,526
- Jun 29, 2008
- Gross worldwide
- $521,320,168
- Runtime1 hour 38 minutes
- Color
- Sound mix
- Aspect ratio
- 2.39 : 1
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