Wall E Deutch

Race, fly and shoot as you take futuristic robots WALL-E and EVE through a fast-paced adventure. From the desolate waste-lands of Earth to the Axiom space cruiser, throw cubes and blast robots and obstacles while you relive some of the movie’s most thrilling moments and explore worlds filled with non-stop action and adventure, along with head-to-head multiplayer challenges. Dodge dangerous enemies, carry out intense missions and navigate your way through a futuristic galaxy!

After hundreds of lonely years of doing what he was built for, WALL•E (short for Waste Allocation Load Lifter Earth-Class) discovers a new purpose in life (besides collecting knick-knacks) when he meets a sleek search robot named EVE. EVE comes to realize that WALL-E has inadvertently stumbled upon the key to the planet’s future, and races back to space to report her findings to the humans (who have been eagerly awaiting word that it is safe to return home). Meanwhile, WALL-E chases EVE across the galaxy and sets into motion one of the most exciting and imaginative comedy adventures ever brought to the big screen.

The makers of the Walt Disney/PIXAR CGI-animated movie WALL·E, which concerns the adventures of a cute robot in a post-apocalyptic future, must have had quite a budget. Thomas Newman has composed what sounds like five different movie scores for it, and he has gotten a giant studio orchestra (there are 52 violinists, just to begin with) as well as plenty of other instrumentalists, to play it. There are grand orchestral themes full of lush string playing, stirring action music, cues that sound like they combine sound effects with the music, contemporary pop tunes, and even a complement of those quirky little motifs, usually played on odd instruments, that are Newman's signature as a composer. (Think of the theme he wrote for the TV series Six Feet Under.) As if that's not enough, there are plot-derived excerpts from the soundtrack to Hello, Dolly!, Louis Armstrong playing and singing "La Vie en Rose," and, last but not least, a story-concluding song by Peter Gabriel that earned him (and Newman) an Academy Award nomination for Best Song. Clearly the music plays a big part in WALL·E, and Newman has done his part to make it another hit from the already wildly successful PIXAR animation studio.

Animators work within a strictly defined, limited space that requires difficult artistic decisions. The blank frame presents a dilemma for all animators, and the decision of what to include and leave out raises important questions about artistry, authorship, and cultural influence. In Animating Space: From Mickey to WALL-E, renowned scholar J. P. Telotte explores how animation has confronted the blank template, and how responses to that confrontation have changed.