by Miguel E. Rodriguez
DIRECTOR: Chris Sanders
CAST: Lupita Nyong’o, Pedro Pascal, Bill Nighy, Stephanie Hsu, Ving Rhames, Mark Hamill, Catherine O’Hara
MY RATING: 10/10
ROTTEN TOMATOMETER: 97% Certified Fresh
PLOT: An intelligent helper robot winds up stranded on an island populated only by wild animals. To survive its new environment, it adjusts its programming, with unexpected results.
Just days after watching Flow [2024], a dialogue- and human-free animated film about animals struggling to survive after a cataclysmic flood, I watched The Wild Robot, also human-free, also starring mostly animals, and also about the struggle for survival, but it adds conventional dialogue and an intelligent robot in search of its purpose. In broad, REALLY broad strokes, they are similar, but don’t bother asking me which one is better. I give them both a ten-out-of-ten, each for different reasons from the other. Flow may be literally unique, at least in my experience, but The Wild Robot tames its genre and bends it to its will, creating one of the most heart-tugging movie experiences since Wall*E [2008]. If you’re prone to crying during a movie, this is a three-hanky film, at least. (Penni went through five, herself.)
On a dark and stormy night, a mysterious container washes up on the shores of an uninhabited island. Inside is Rozzum 7134, an intelligent helper robot with exceptional physical capabilities and the speaking voice of Lupita Nyong’o. Hope she gets her royalty checks. Upon escaping her would-be watery coffin, Rozzum searches the island for the one thing that will give her existence meaning: a task to complete. The opening scenes get us off to a hilarious start as she tries to complete tasks for various animals, to no avail. In an intelligent bit of screenwriting, she powers down for a couple of days and, through passive listening, effectively learns the language of the animals around her. In a lesser movie, this feat might have been handled with the push of a button. I liked the fact the writers went for something a little easier to swallow, science-fiction-wise.
Through circumstances which I will not reveal, Rozzum winds up as the guardian for a newly-hatched gosling, and as the unlikely friend of a fox named Fink (Pedro Pascal, whose voice was utterly unrecognizable; I thought it was Matthew Broderick). The gosling imprints on Rozzum, which she finds bothersome. A helpful mom opossum, Pinktail (Catherine O’Hara), warns Rozzum that the gosling must learn to feed itself, swim, and fly by the next fall so he can migrate with the other goose; otherwise, it will starve during the harsh winter. Presto…a task!
Eventually, Rozzum is shortened to Roz and she names the gosling Brightbill (Kit Connor). As she undertakes her task of raising the gosling, Roz’s programming…evolves. She starts to actually care for the little guy. She starts asking questions that robots aren’t supposed to ask. She exhibits all the early warning signs of helicopter-momism. And all the while, she debates whether to activate the internal beacon that will let her makers know where she is…
Because the plot is so dependent on tugging those heartstrings, that’s all I’ll say about it. Let me talk instead about Wild Robot’s visual style. The backgrounds and characters are gorgeous, sumptuous, evocative of oil or acrylic paintings. I could mention two or three specific shots right now that contain some of the most beautiful animated imagery I’ve seen since Pinocchio [1940], but I don’t want to give anything away. (Hint: butterflies and geese.) In this way, among others, it shares a lot of DNA with Flow, whose backgrounds and characters also resembled hand-painted objects. I don’t even want to think about how long it took to create such a painterly style and make it look so effortless and organic.
I also liked the way Wild Robot used its story to make a pointed commentary, but not in the direction I thought it would go. From the trailers, I assumed it would be yet another paint-by-numbers story about preserving nature or life, which was already covered as well as it possibly could be covered by Brad Bird’s The Iron Giant [1999]. Instead, Wild Robot makes some eloquent statements about the terrifying task of parenthood. At one point, Roz, who is programmed to solve problems, discovers the task she’s undertaken – raising a gosling, i.e., being a parent – is a task that could potentially never end. She experiences the fear of almost losing a child. The joy of watching Brightbill learn to fly, while at the same time realizing that means he will one day migrate. As I list the plot points here, it sounds like the movie is composed of cliches, but I can assure you, it’s not. All of these nuances, and many more, are allowed to occur organically without the slightest hint of being nudged along by the screenplay.
DreamWorks has created possibly their best animated film since…gosh, I’ll go all the way back to The Prince of Egypt [1998]. It’s a crowd-pleasing adventure with a point, which is a hallmark of only the best science-fiction movies/stories. There are real stakes on the line. There are some actual deaths in the story, which surprised me for some reason, but there you are. It looks sensational. It’s smart. I can’t say enough about it. The Wild Robot was one of my most favorite films of 2024.
2 UNPAID MOVIE CRITICS!!!! 