Meet 'WALL-E,' a masterpiece

Nine for nine.

That's the track record at Pixar Animation. From the groundbreaking "Toy Story" in 1995, to "WALL-E" in 2008, Pixar's nine feature-length films represent everything great about modern filmmaking.

And yet, there are always cynics to dismiss Pixar films as "cutesy entertainment for children." What ignorance. Films like "The Incredibles" and "Ratatouille" tackle adult issues with precision and wit. It's designed to fly over the heads of children, but any reasonably intelligent adult can recognize the undertones. Let the cynics live their miserable little lives.

"WALL-E" is another forward-thinking masterpiece. It has a lot to say about excessive consumerism and ecological responsibility, but above all, it's a story about the need for companionship.

Seven hundred years in the future, WALL-E is the last robot on a desolate Earth. The Waste Allocation Load Lifter Earth-Class spends his days making cubes out of trash left behind by Buy n' Large, a conglomerate responsible for exiling the last humans into space.

Through the years of isolation, WALL-E has developed a curious personality. He owns a cockroach as a pet and collects human treasures like sporks and an old tape of "Hello, Dolly!" A hopeless romantic, WALL-E's adorable binocular eyes widen at the sight of two hands embracing on screen.

WALL-E's solitary life ends when a sleek robot named EVE arrives in search of plant life. They communicate with one another through blips, beeps and gestures, and while they can only repeat each other's names, they share a spark far more advanced than their robotic purpose.

The opening act of "WALL-E" is a beautiful romance, executed almost entirely without dialogue. The "blips," created by R2-D2 voice designer Ben Burtt, allow the audience to translate the communication. Even when the humans appear, the bulk of "WALL-E" is told without words.

Writer/director Andrew Stanton ("Finding Nemo") is a rare talent. He pulls the heartstrings without resorting to cheap and manipulative tactics. Like in "Nemo," the filmmaker knows just when to slow down the plot and emphasize detail. When WALL-E and EVE share a romantic "stroll" through space, Stanton allows the scene to breathe and build into a spectacular and tender moment.

There are so many opportunities to laugh and smile during "WALL-E." My favorite scenes involve small actions, like the way WALL-E shakes hands with strangers, or how another robot is so obsessed with picking up every speck of dirt.

When I saw "Ratatouille" last year, I knew it had a good chance of being my favorite movie of 2007. Only "Once" and "There Will Be Blood" gave me a similar theatrical experience.

To my surprise, I find myself thinking the same way about "WALL-E." Drawing inspiration from Charlie Chaplin, "2001: A Space Odyssey," and even "Alien," "WALL-E" is the year's first real cinematic achievement.

It reminds me of "Bambi" and "Dumbo," Disney classics that tell character-driven stories with little dialogue. It won't take long for "WALL-E" to be recognized with the same adoration.

*Reprinted courtesy of the Coeur d'Alene Press