WALL-E

In the distant future, a small waste collecting robot inadvertently embarks on a space journey that will ultimately decide the fate of mankind.

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I was quite surprised to see WALL-E in the Top 250, let alone at number 62. With no idea what the film was about beyond its gimmick, I was naturally apprehensive. How would Pixar drag out a film with no dialogue into ninety-something minutes? While WALL-E relies heavily on physical comedy, it’s actually also its most beneficial element – there’s no unnecessary weight, and the story, like its characters, is always moving.

As the last robot on an abandoned Earth, WALL-E’s directive is to clean up the planet by building skyscrapers out of cubes of garbage, like a dystopian Minecraft world. But for a mostly-mute, non-humanoid robot, he’s quickly personified as we see him go about his day like a real person – getting up for work, stalking a girl he likes, and watching his stuff get set alight when he realises the girl is as crazy as she is hot.

WALL-E

WALL-E is like the Microsoft to EVE’s Apple (those names aren’t a coincidence). Sure, he doesn’t have as many fancy features, and maybe doesn’t look quite as sleek, but at least he’s not violently hellbent on world domination. Actually, it’s incredibly surprising how quickly one warms to two characters with no real dialogue. It makes the whole experience seem far purer than one where the characters are always spouting bullshit – I like WALL-E and I like EVE because they let their actions do the talking. And like Toy Story 3, when I eventually cried like a little girl, I realised WALL-E deserves its high position on the Top 250.

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