In “The Wild Robot,” a five-star fable for our AI age

The new film “The Wild Robot” could draw comparisons to “The Iron Giant,” which also featured an automated protagonist. But my experience with the film, which is deservedly getting Oscar buzz, took me back to another cult classic starring an android – Bicentennial Man.

Like the late Robin Williams’ take on artificial intelligence, this ferocious robot, named ROZZUM Unit 7134 and featuring the dynamic voice of Lupita Nyong’o, was designed for duty. Much like the late Williams’ more physical performance, the magic happens when both the plot and the actor introduce humanity into a sci-fi film.

It’s a perfect film for this technological age – fast-paced and full of skepticism. A failed automated delivery forces our friendly robot from heaven to earth, into a human-free wilderness. At first glance, the fable’s message seems to revolve around the evils of technology and how it can corrupt a (seemingly) peaceful animal population. But what ultimately happens is that technology becomes a mirror – devices show us our own vices and values.

Ultimately, “The Wild Robot,” directed by Chris Sanders and based on a trilogy by Peter Brown, is about life itself. It’s about our human attempts to make things better. And much like the seasons, nature cyclically seeks to refine and refresh our flaws. And yet love covers a multitude of sins, as evidenced by the unorthodox parenting between the robot, a hungry fox (voiced by Pedro Pascal) and a gosling (Kit Connor). When Brightbill the gosling tries to pronounce the robot’s first name, our machine offers a nickname: “Roz.”

As the film shows early and often, Roz’s greatest skill is adaptability. She imitates different animals and species, not only to survive but also to be social. Her efforts don’t always go according to plan, but that doesn’t deter our protagonist and is part of the film’s charm. This optimism not only turns a predatory fox into an oblivious father, but also transforms the food chain from a pecking order to an organized community.

The attention to detail in this fable is breathtaking, from the crisp animated images to the investment in individual stories that align with the main plot like birds in formation. Even Roz’s eternal optimism has a counterpart, the cybernetic Vontra, whose sullen demeanor does not belie his villainy but synthesizes it. In a way, it reminded me of Nyong’o’s role as protagonist and antagonist in Us. Here, however, Vontra is voiced by Stephanie Hsu. Happiness can be programmed, but neither humanity nor shared experiences can.