At first glance, The Wild Robot — adapted from the novel by Peter Brown by director Chris Sanders (Lilo & Stitch, How to Train Your Dragon, The Croods) — seems like familiar territory. A robust all-purpose service robot, ROZZUM Unit 7134 (the voice of Lupita Nyong’o) finds itself marooned on an island with wild animals.

Seeking a purpose — her main programming is to provide services — she (and I’ll call her a she, since the voice and characteristics are undoubtedly female) tries to convince animals to let her help them and, more importantly, get them to believe that she isn’t a predator.

After an accidental fall, she decides to care for a goose’s egg that houses a runt that she names Brightbill (Kit Conners). With the help of Fink (Pedro Pascal), a mischievous red fox, Roz (as she’s later named) finds her purpose: to make sure that Brightbill overcomes his physical limitations and grows up to migrate with his fellow geese.

By the outline of its plot, this isn’t a newfangled, daringly ingenious idea. Robots with emotional cores, learning to care and love, have been explored to perfection in Wall-E and Iron Giant — both classics, by the way — and Sanders’ go-to narrative take, about loving one’s creatures (as evident in his above-mentioned filmography), aren’t original explorations of themes either. So, what is it that makes The Wild Robot work?

So what is it that makes The Wild Robot work? Well, that would be everything, including the expected

Well, that would be everything, including the expected.

While I am not wild about the painterly rendering style of the film, it is Sanders’ insistence to incorporate tons of emotion into the story that makes it worth your time, and more.

Roz, even before she is named — even when she isn’t aware of this herself — carries a mother’s instinct. Voice-directing Nyong’o to carry just a tinge of fabricated, robotic softness in the tone of a caregiver, without the need to amend her speech to incorporate a more human tonality, makes her connection with the animals and the audience distinct, unique and heart-warming.

One understands that most of her actions, including her immediate reactions to new directives, are part of her programming, yet one sees that, beneath her resilient metal exterior, beats a sentient soul.

Sanders doesn’t indulge in the technicality of how Roz seems as human as the animals; this is not an anime movie about existential dilemmas of the soul. The simplistic American mood serves the story quite well. Given that I am still reeling from the climax, I’d want Sanders to start working on the sequel as soon as possible (despite the low box-office, a sequel is already in development).

With the line-up so far this year, I’d give The Wild Robot high chances of winning the Academy Award for Best Animated Film this Oscar season… provided that The Glassworker doesn’t gain momentum in the category, or wins the International Film trophy.

The Wild Robot is produced by DreamWorks and released by Universal. The film is rated PG. The film has heart and soul, and features a few deaths that are handled with compassion and sincerity

Published in Dawn, ICON, October 27th, 2024