馃帵 WALL路E full movie HD download (Andrew Stanton) - Adventure, Sci-Fi, Romance, Family, Animation. 馃幀
Adventure, Sci-Fi, Romance, Family, Animation
IMDB rating:
Andrew Stanton
Ben Burtt as WALL路E
Jeff Garlin as Captain McCrea
Fred Willard as Shelby Forthright - BnL CEO
MacInTalk as AUTO
Kathy Najimy as Mary
Sigourney Weaver as Ship's Computer
Kim Kopf as Hoverchair Mother
Teddy Newton as Steward Bots (voice)
Lori Alan as Additional Voices (voice)
Bob Bergen as Additional Voices (voice)
Paul Eiding as Additional Voices (voice)
Donald Fullilove as Additional voices (voice) (as Don Fullilove)
Teresa Ganzel as Additional Voices (voice)
John Cygan as Additional Voices (voice)
Storyline: In a distant, but not so unrealistic, future where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess. Mesmerized with trinkets of Earth's history and show tunes, WALL-E is alone on Earth except for a sprightly pet cockroach. One day, EVE, a sleek (and dangerous) reconnaissance robot, is sent to Earth to find proof that life is once again sustainable. WALL-E falls in love with EVE. WALL-E rescues EVE from a dust storm and shows her a living plant he found amongst the rubble. Consistent with her "directive", EVE takes the plant and automatically enters a deactivated state except for a blinking green beacon. WALL-E, doesn't understand what has happened to his new friend, but, true to his love, he protects her from wind, rain, and lightning, even as she is unresponsive. One day a massive ship comes to reclaim EVE, but WALL-E, ...
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Actions speak louder than words
WALL-E is set in a dystopian future where the Earths surface has been over-run by waste, poisoning the atmosphere and rendering life impossible.

Abandoning the planet, the Humans of Earth seek sanctuary in the stars, leaving the dutiful task of cleaning up after themselves to a legion of Robot's - Waste Allocator Load Lifter's - Earth class (Wall-E's).

After 700 years, civilisation has forgotten about Earth and the WALL-E fleet has worn itself down to 1. Infinitely curious, the remaining 'bot is captivated by a new presence, EVA, thrust onto the planet by an unknown vessel.

Their slowly developing friendship is tested to the limit when EVA is immobilised and taken back to her mother ship. The Luxury Cruise vessel which houses the remaining few humans who have become totally reliant on their technology and are oblivious to the fight for their true homes survival.

The protagonists' communication is restricted to a few awkward phrases and limited expression, posing a significant challenge to Disney/Pixar. Yet throughout the film I passionately longed for the happiness and safety of the animated duo. The characters are complete and well rounded and far from a hindrance, the lack of spoken language gives a totally unique perspective to their story.

Disney/Pixar have achieved a monumental masterwork worthy of admiration. It's clear that a lot of love has gone in to this movie, with every scene a visual masterpiece, offering overpowering aesthetic beauty and minute attention to detail which creates as much a work of art as any sculpture or painting.

The film lacks many of the sneaky Innuendo's that often tickle the adult viewer, but manages to reach all age groups in an effective and powerful manner. Through explosive laser battles and dramatic backdrops, hilarious miss-haps and a torturous climax, every range of emotion is comprehensively invoked leaving the audience exhausted and exhilarated.

The plot is fairly typical of a Disney film and leaves few surprises, the three-phased story telling that has made Disney famous has always proved successful and does not fail here. An imperfect balance is torn to shreds and eventually put right, bringing a brighter future for all.

The much criticised ending symbolises the ideal of Love conquering all, and relies on the immersive characterisation over believability, which far from a weakness, perpetuates the theme of the piece.

Up against strong competition, WALL-E's chance of big box-office success is mired by its Target Market, but unlike the blockbusters it's up against, it truly will appeal to everyone.
Very Disappointing
I don't know if I would have liked this movie better if my expectations weren't so high.

I agree with those critics who say the first half hour, which contained so little dialogue, was excellent. However, in the remainder of the movie, the animation got in the way of the story. The animation was stunning, but it was also distracting. In Ratatouille and Toy Story 2, the story drove the movie, and although the animation was great, it wasn't so overwhelming that it interfered.

I recently took my granddaughter to see Kung Fu Panda, which was not as well animated but overall was much more enjoyable. The greatness of the animation can detract from the greatness of the movie.
One of the best of the year!
First of all, how come there are so many people that think a new movie can't be an instant classic, nor can it surpass other great movies made in the past? Half of the '1' comments report that the movie was good, but they just voted low to bring down the rank. I feel that eventually, there will be a film that portrays enough to be better than some of the best. Whether Wall-E is it, is questionable. However, I don't think people should vote a 1 just to bring down the ranking of this film - the ultimate flaw of this site. Too many people are afraid of their favorite movie being taken over by something else. Vote on the movie, not on its ranking. People also need to stop complaining about the "green" material in the movie. Seriously, get over it.

That said, this movie is a glorious achievement. Nothing has been characterized so much by using so little, especially in animation. The CGI is second to none, and I fell in love with the characters from the start. It's one of those movies that has a little bit of everything: laughs, cries, surprises, drama. The storyline is seamless, and I didn't get bored at all. I walked out truly mesmerized.

The downfall of the movie, if any, is the target audience. Being an animation and made by Pixar, many children are expected to see the movie. However, I don't think children have the mind-set for this film. It is so much more than animation; more than silly humor with silly cartoon actions. It is a drama, with meaning behind everything - something a child can't yet recognize. It may be difficult for a child to watch without lots of dialogue, so you shouldn't be surprised if your child falls asleep while watching.

An Oscar for best animated film is without a doubt. Bravo.
No dialogue, No big name actors, no modern music
No problem! Finally an animated movie that dares to be.... animated! Pixar has set a new standard in digital animation. I say digital, because I'd still like to see more traditional hand drawn films. You don't need recognizable voices coming out of animals that resemble them. You don't need cheesy jokes or failed one liners. No musical cues to band either. I don't think I'll be able to watch a computer animated movie for a long time, I'll compare to this for a while. Pixar was not in this for the cheap quick cash in, they made a movie, that I think, will stand the test of time. I can tell people will be watching this for years and years, like Fantasia.
Film making at it's best
It is a extremely rare thing to see true beauty in movie. When it does occur only a foolish person would fail to delight in the pure joy of the moment. That Wall-E contains several such moments is a testament to the continuing brilliance of Pixar.

The story is a simple one but the execution is breathtaking. It is ironic that the most genuine characters to emerge from a movie in years are in fact computer generated robots. Without saying more than two words to each other WALL-E and EVE convey subject and emotion with a subtlety that only serves to enhance the meaning.

Watch this movie and revel in its majesty.
Hmmm...bit of a let down
Having read endless reviews that this was going to be (i quote) 'the film of our generation', I have to say I was very disappointed. What Pixar have accomplished here is a film of incredible merit...for about twenty five minutes. The opening scenes on earth are, a little odd, but there are lots of guaranteed laughs within, and Wall-e is a truly tremendous character to have been concocted by an animation studio; in deed, thanks to this little robot, for about fifteen minutes, this is probably the finest animated film ever made; it is unique, it is thought provoking, and it gives great promise of what is yet to come; however, what is yet to come is a terrible waste of a great initial idea. The scenes on board the spaceship are at best 'quirky' and the film is weighed down by too many unnecessary characters, several plot devices of absolutely no sustenance, poor scripting, and an hour of film where the same scenes seem to be flashing before our eyes again and again...it really does get monotonous. The last five minutes go someway to undoing the damage, but for all the stunning animation and 'make you think' messages, Wall e never really finds it feet. If only the first half hour had been fleshed out, developed, and not flushed down the toilet in favour of an irrelevant and idiotic 'look at the pretty lights' plot line that takes far too long and never really gets anywhere, we would probably be looking at top 100 material.

It seems to me that Pixar have set out to do something wonderful, different and incredibly brave, but got cold feet, wondered too much about 'is this going to work?' and opted instead for the usual heartwarming and vaguely amusing mulch.

I'm maybe being a little unfair here. The bloated mid section is probably, upon comparison, about as good as bits of ratatouille, the incredibles or finding nemo; Wall e fails to cut the grade simply because it promised to be better, and because it never really seems to know what it's doing.

A disappointing effort
Like a stop-smoking ad starring Joe Camel
When Pixar's not sucking on the Disney Empire's sinister teat or filling landfills with discarded kitsch packaged in slow-to-biodegrade plastic and made by suicidal kids in China at environment destroying mega-factories...they're making eco-cautionary, anti corporatist films. In this regard we had the clean energy advocating "Monster's Inc" and "Cars 2", and the eco-loving, anti-consumerist, anti-corporate "WALL-E". Pixar's other films have a stranger tension, "Cars" decrying urban sprawl, gas guzzlers and life in the fast-lane by celebrating retro-cars, speedy races and old-school, "good", "small town capitalism", whilst the "Toy Story" movies yearn for the tactile, nostalgic pleasures of solid-state toys even as Pixar's dependence on pixels, processors and Pentiums pulverises whatever pull pre-digital entertainment ever had. Want to play with Mr Potato Head, honey? Screw that, Mom. Hit me some X-box. Now! Disney once performed a similar magic trick, making billions off public domain material whilst militantly copyrighting the same material (Disney lobbies were behind the drive to extend copyrights to a full century), aggressively suing everyone from the Academy Awards to daycare centres who dared place Snow Whites and Quasimodos in classrooms or playgrounds.

Directed by Andrew Stanton, "WALL-E" revolves around a cute robot called WALL-E. He's (why do we assume WALL-E's male?) a cross between ET and "Short Circuit's" Johnny 5, with big robot eyes and a perpetually sad, puppy-dog look. When he's not mimicking old Chaplin, Keaton and Harold Lloyd routines, WALL-E's patrolling a now derelict planet Earth, stacking garbage, junk and dutifully doing his best to repair a polluted planet. Enter EVE, an apparently female robot who has been sent to Earth to scan for vegetation. While WALL-E resembles an old VHS system, EVE's a cross between a tampon and an Ipod, all sleek enamel, digital readouts and laser beams. The duo embark on an adventure which teaches us about the fragility and strengths of our ecosystem and condemns mega-corporations/branding/advertising/rampant-consumerism (shades of the sci-fi eco-parable "Silent Running"), before launching into a second half which takes place upon the Axiom (literally, "the worthy few"), a spaceship where fat, lazy humans are doted on by machines.

The film's best moments occur in its first, Earth-bound quarter. Here our robots share a courtship that evokes Chaplin's "Little Tramp", "Modern Times", Virginia Cherrill's blind flower girl in "City Lights" and the love affair in Keaton's "The General". This section is also quite melancholic, WALL-E a lonely outcast thanklessly tasked with cleaning up humanity's mess. We feel for him. He's also a bit like Neville of Matheson's "I am Legend" (pet cockroach instead of dog), barricading himself in his bunker each night in an effort to escape sandstorms.

Unfortunately the film quickly becomes Pixar's most saccharine, manipulative, contrived, obvious and heavy handed. Cheap death scenes are frequently rolled out to elicit tears (WALL-E keeps dying and his cockroach keeps getting squashed), WALL-E's big sad eyes are relentlessly milked, and the film's "GARGANTUAN EMOTIONAL MOMENTS" are mostly all forced and obvious. Throw in a generic "red button", "ticking clock", "countdown to explosion" finale, a series of second-rate action scenes (and obligatory "poetic flying scenes"), last-minute villains ("2001's" HAL meets "Flight of the Navigator's" Max), weak comedy, corny characters and you have one of Pixar's worst. The film also struggles to cook up interesting visuals and virtual sets, its aesthetics becoming conventional as soon as the film launches into outer space. Stanton's previous Pixar effort ("Finding Nemo") kept its two sections – expansive ocean reefs and claustrophobic urban fish tanks – much more fresh. With "WALL-E" you've seen it all before.

"WALL-E's" message is all over the place, which upon release resulted in it being embraced by both American liberals (hug a tree!) and conservatives (pro free-market, anti big government). Regardless, the film has little real world bearing. Historically, machines increase work, obesity is linked to social class (ie, the poor, not the indolent) and in the real world consumerism/fatties are bolstered not by machines but skinny slave labour abroad. In this way "WALL-E's" a very white, middle class, American-centric film: it's an appeal to stop consuming and start recycling rather than a look into the reasons for and futility of both. Bizarrely, the film's "anti-consumerism" but fetishizes retro objects - silent films, Zippo lighters, plastic forks, hubcaps, Rubik's cubes, nuts, bolts and bits of treasure - treasure which WALL-E identifies as being representative of humanity. For WALL-E (cool: he's more a historian than garbage-bot), objects have souls, which is capitalist nostalgia axenic.

Like most "environmental films", "WALL'E's" aching for a pure, untouched, unpolluted, pre-globalisation, pre-digital past. A return to the wilderness (see "Survivors of the Dead"). And like these films ("Avatar" etc), it wrongly turns "environmentalism" into a personal choice. But people are mostly frugal and it is systems, not people, which make society "happen". It is not your fault you're inundated with packaging, spam and products with short life-spans. Rather, capitalism as an ordering system hinges on waste, overproduction, expansion, over-accumulation, exponentially increasing consumption, and is designed such that most products go trashed and/or unsold (corporations destroy tonnes of merchandise to prevent sales on the black market and horde goods to manipulate demand/prices etc). It is the "normal situation" of bourgeois society for a great part of existing products and of the previously created productive forces, to be wasted. Much of this waste comes from an economic system which pits the same products against one another and requires copious labels and advertising as weaponry in this war. There can be no "environmentalism" or "green movement" unless one first radically re-figures our whole concept of production, wealth and "money" (wrongly, "WALL-E" is post money), "money" having long been exposed as a powerful political tool for expropriation, as opposed to a mere "neutral medium of exchange", as is commonly believed.

7.5/10 – Almost as annoying as "Avatar".
The Certainty of Seeing
You can read elsewhere the ordinary stuff — about how wonderful this is; about how it exploits cinematic characterization, and even how conservative bloggers have decided to criticize it supposedly leftist premise. (Jees)

I did enjoy it. Its an amazing experience. But while watching it, I also was admiring the minds behind it.

There are sometimes intelligent movies being made, and a surprising number of them are from Hollywood. I believe though that in most cases, it is because there is a critical mass of intelligent writers, filmmakers and decisionmakers that are working at the fringe of the establishment. Not so with Pixar. I've been constantly surprised at each project how they encapsulate essays in the advance of the cinematic vocabulary.

Its a bit like French new wave films made by film theorists, the films being more about what can be done than doing it in the service of effect that matters. (Their retort would be that it DOES matter if it changes the vehicle.)

But this Pixar business is a different model. Folks can come and be entertained without having to dip into vats of self-reference. Oh, there's plenty of superficial self-reference, but its all in the service of jokes, and they are all in the service of the narrative.

But other folks — like me and perhaps you — can also see that they are doing a few things that no one else is in quite the same advanced way, and they mark them so that you can read it as a sort of metanarrative. Jobs does the same thing with Apple. They make products that people use and like. But they also are in the business of defining what it is to be cool. They manufacture cool like they manufacture electronic products. You get both, and even in the products there's a reference to leadership, because being cool is all in who defines cool.

So when I saw this, I saw self-conscious art, and stories about the future of cinema. We've always gotten that with Pixar. Usually, it has to do with space, and what you can do with this new medium that is impossible with "real" cameras and places.

This last movie, "Ratatouie" added in the notion of control. Pulling the strings. I'm sure many have noticed that the shorts that Pixar creates to play before these features are a sort of synopsis of the reflective ideas they will use in the film. Last time the short and film were about control at a distance, with both the puppetmaster and puppet being featured, but the star was the puppetmaster. You can almost see how the whole story could have been generated by this idea: chef, French (who claim to have invented folded cinema of the reflexive kind), and rat. Secret recipes. Love always.

This time around, the cinematic sensibilities are profoundly deeper. A deep certainty. You have to know about 2001 as a start. Kubric's interest there was the warring narrator. Whose world is telling the story, man, machine or god. There is a story, but it hardly matters. Its all about who is telling the story, whose chair you sit in as the viewer. Its a masterful work.

Here, its bent only a little: mankind, machine and nature, but its folded back on the story — which here has effect. Wall-e is natural, machine in form, but more human than the humans we see. But watch how they fold it again. Its a movie about the truth in movies, how the power of cinema can reach into the real world. A handholding there and here is a handhold between the worlds.

And also watch how they built movies in. This isn't accidental. When they put a movie within a movie like this, the intent is to have the watcher of the outer movie join the world of the watcher of the inner movie. Its a reliable trick to get us to invest in what we see. But they go further. When we see the humans — who are supposed to be like us but clearly aren't — we note that THEY are hypnotized by the movies in front of them and cannot see the larger world beyond, and we can.

It happens to also spill over into the great narrative about how some of us can see that the planet is being destroyed and other blithely putter on. That business about saving image- laden artifacts as a memory storehouse... All these layers — yes they are engineered by what is now the most intelligent and adventuresome narrative engineering lab in a studio.

All this extra introspection is used not as dry thesis, but in the service of the love story. It made it deeper, and more true. Knowing makes love true. So yes, it is effective, and fun, and deep.To compensate, the camera and space manipulation is less radical than usual.

Ted's Evaluation -- 3 of 3: Worth watching.
Not as good as they say
With all due respect, "WALL-E" is said to be such a great movie, but for me it isn't as good as they're making it sound. Although I rarely appreciate a CGI film, I had good expectations about this one. But it seems that my expectations were a bit too high. So, it's an overrated movie. I don't use the word "overrated" frequently, but this is one of those cases which I think deserves such word.

The movie is visually triumphant. For a CGI film, the visuals are excellent, fresh, advanced and obey to high standards of quality. The sceneries look futuristic either, which is no surprising considering that our story takes place in the 22nd century.

The movie actually starts very well and promising, with the WALL-E character doing his duty: to clean the garbage and mess of a lost, sad and desert Earth where everything is destroyed and humankind is a rarity now. The first 15 minutes are very good for this and for its sceneries. Speaking of these sceneries, the place itself and all those destroyed buildings made me think of Steven Spielberg's "A.I.: Artificial Intelligence" and also of a Citroen C4 TV commercial, where the car transforms itself into a robot and dances at the sound of the music "Jacques Your Body" by Les Rythmes Digitales. The only minor thing that bothers me a bit in the beginning is that WALL-E befriends with a cockroach which is always behind him.

The sceneries in space and inside a spaceship (seen later in the movie), on the other hand, made me think a bit of "2001: A Space Odyssey", "Star Wars" and that Pizza Planet place in "Toy Story".

Anyway, back to the beginning, when WALL-E meets a female robot named EVE, the movie begins to lose some of its original impact. For a story like this, romance was absolutely unnecessary, even more when the story is about robots and machinery. Plus, once the story in the spaceship begins, that's when it loses all its interest. That Captain guy annoyed me and the villains. The Captain and many other human characters are very poorly designed, as usual in most CGI movies. They tend to overdo their proportions. Not to mention that there are many silly moments, the story gets silly and so on.

Despite that, the visuals inside the spaceship are very nice and interesting. They show quality and they look very realistic, almost looking like a giant shopping center from the future.

One more thing: what was the point of those live-action scenes when the movie is supposed to be animated? And what is the music from "2001: A Space Odyssey" doing here? As if it wasn't enough inserting that music in "Charlie and the Chocolate Factory", now they put it in here? I wonder how many more movies will do this in the future.

The character WALL-E (an acronym for Waste Allocation Load Lifter Earth-class) is likable and interesting. Although he's a robot/vehicle from space, he looks a little like E.T. - besides, his voice sounds a bit like E.T.'s and combines a brilliant robot-like quality. I loved his voice, fits perfectly well for the character.

Overall, a nice try, but like most CGI films, it's no match for "Cars".
A love letter to science-fiction films of old with a modern environmentalist message, WALL-E is another winning confection from Pixar, the folks who have made an art out of wrapping adult themes in childish whimsy and coming out with movies that please both elements. Starring a box shaped little robot with more than a passing resemblance to E.T., WALL-E is quite possibly the cutest Pixar hero ever, despite the fact that he's a trash compactor with eyes. A story centering on a wordless robot could be cold and uninviting, but not in Pixar's capable hands. Never has a robot been this compassionate: WALL-E's got heart.

The story of the film is deceptively simple. WALL-E (Waste Allocator Load Lifter - Earth Class) is the last of his kind, a robot created by the Buy-N-Large Corporation to clean up the piles of trash left on Earth by the conspicuous consumption of human beings. The humans themselves have evacuated the now-lexically trashed Earth for a Eden-like spaceship habitat called the Axiom (also created by BNL corp.), where they spend their days sipping meals out a cup and reclining on floating easy chairs. Though all his robotic compatriots have long since compacted their last, WALL-E continues plugging away at his job in an endearingly human way. He wakes up each day to the chime of a Macintosh starting up (score for the folks! Thanks Steve!) and heads out for another day among the trash heaps. He brings a battered coolie along with him to save the things he likes: a ping-ping paddle, a plastic dinosaur toy, a light bulb, a small seedling saved in an old boot. He ends each day in his home, watching an old video tape of Hello Dolly! - an important motif throughout the film.

Things change drastically for WALL-E the day EVE shows up. She is slick and futuristic and quite obviously a girl; WALL-E falls in love almost immediately. It turns out EVE has been sent from the Axiom to scan the earth for signs of habitable life. Their convincing courtship is done completely without dialog, quite a feat for sound designer Ben Burtt who found a way to make ambient noise into recognizable words for WALL- E. Trying to impress the coolly modern EVE, WALL-E shows her the seedling he found, at which point EVE goes into a hibernation state and awaits the return of her spaceship. WALL-E, of course, cannot abide by his beloved EVE's status and hitches a ride into space to save her.

A bit disturbingly, all the humans on the Axiom have regressed to babyhood (enormously fat, with chubby extremities and little bone density) after 700 years of living up in space and drinking their meals through a straw. It seems that this may have been the aim of the BNL Corporation, who have instructed the ship's Computer Auto (Sigourney Weaver) to never let the humans return to Earth, even if it is found to be habitable once again. Though WALL-E's only aim on the Axiom is to find his beloved EVE, he finds himself wrapped up in a race to save the seedling he collected on earth from the treacherous tentacles of Auto. Along the way he meets a variety of robots, each with their own supposed job, all of which are related to cleaning up. It becomes clear that human consumption is what has trashed the earth and is now trashing Outer Space as well.

Though he is tiny and relegated to the dirtiest of the dirty jobs, WALL- E truly understands how to find value in sullied things and how to create magic out of useless objects. He is more human than the humans in that way and slowly, without preaching (he can't even talk), WALL-E begins to show them how to regain what they have lost through sloth and over reliance on technology. It's an environmentalist film, but also a poignant homage to simple joys in this era of pods and digital everything.

Half of what is so enchanting about watching WALL-E, as in all Pixar films, is seeing how the filmmakers have created a working universe in which to play. There is no skimping here, no visible shortcuts. WALL-E himself has a million ways to express his emotions, from compacting into a box when he feels shy to wiggling his binocular-like eyes in awe when he first beholds EVE, all of which are related to physical, realistic components. That allegiance to authenticity allows the film to send its narrative to fantastic heights without seeming over the top or phony.

Like all previous Pixar films, the meaning of WALL-E is deeper and more profound than the merchandising opportunities found therein. It's a love story, yes, but it's also a story about staying true to your own heart in the blandly evil face of authority. It's a tale about saving the small things and cherishing the world you live in, no matter how imperfect its surface might seem. Andrew Stanton, who won an Oscar in 2004 for Finding Nemo, has certainly earned his place in the pantheon of animation pioneers, but with WALL-E, he has taken not only the art of animation, but the art of storytelling to new, unimaginable heights.

As a bonus, Pixar have affixed a Looney Tune-y short about an arrogant magician and his hungry rabbit to beginning of the WALL-E. Presto! is pure Looney Tunes and a fitting appetizer to the lovely film to follow.
馃摴 WALL路E full movie HD download 2008 - Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, MacInTalk, John Ratzenberger, Kathy Najimy, Sigourney Weaver, Kim Kopf, Teddy Newton, Lori Alan, Bob Bergen, Paul Eiding, Donald Fullilove, Teresa Ganzel, John Cygan, Pete Docter - USA. 馃搥