SYNOPSIS: “Elio,” a new Disney and Pixar animated adventure now playing in theatres, centers on Elio, a space-obsessed young boy who accidentally gets beamed up to the Communiverse, a cosmic hub where representatives from Earth meet with extraterrestrials. Mistaken for an ambassador from the blue planet, Elio learns about other civilizations and himself. “Back home I didn’t fit in,” he says. “I thought Earth was the problem, but what if it’s me?”
CAST: Yonas Kibreab, Zoe Saldaña, Remy Edgerly, Brad Garrett, Jameela Jamil, and Shirley Henderson. Directed by Madeline Sharafian, Domee Shi, and Adrian Molina.
REVIEW: As empathetic as it is predictable, “Elio” treads familiar ground but packs a light emotional punch with its story of an outsider who learns he is not alone.
Humans have always gazed at the stars and wondered, “Are we alone?” That includes Elio (voiced by Yonas Kibreab) an eleven-year-old boy being raised by his Aunt Olga (Zoe Saldaña) after the death of his parents. Despite Olga’s best efforts, Elio feels abandoned and alone. “There’s 500 million inhabitable planets out there,” he says to her, “and maybe one of them will want me because you don’t.”
When his efforts to be abducted by aliens lead to trouble, he’s sent to a military school where his ham radio helps connect him to the stars and he is beamed up to a colorful world whose aliens think he is an ambassador from Earth who will save their “Communiverse” from the evil Lord Grigon (Brad Garrett).
“Elio” is a kid’s film, with imaginative, vibrantly colored characters and fanciful new worlds, that looks to what Carl Sagan (whose voice appears briefly near the film’s end) called “the deepest of human concerns: Are we alone?” It’s a big concept for a film aimed at the little ones, but it’s presented with a sense of childlike wonder that makes it accessible for all ages.
Beautifully animated in Pixar’s signature style, it looks great but doesn’t have the nuance or deeply felt emotion of the company’s classics. Films like “Up” and “WALL-E” masterfully wove story and sentiment together to form soulful movies that hit the head and heart in equal measure. “Elio” reaches for the stars but remains earthbound in terms of finding the texture that once made Pixar so special.
Still, while “Elio” isn’t a gushing firehose of authentic emotion, it is an imaginative journey into empathy, community and self-acceptance.
The Mexican tradition of honouring their deceased loved ones on Day of the Dead forms the backbone, both visually and emotionally, of the new Pixar film “Coco.”
Miguel Rivera (Anthony Gonzalez) is a 12-year-old aspiring musician and devoted fan of the “world’s greatest musician,” the late, great Ernesto de la Cruz (Benjamin Bratt). Trouble is, his family doesn’t approve. In fact they have a generations–old ban on anything musical stemming from Miguel’s great-great grandfather, a guitar player who chose music over his young family. They are, we’re told, “the only family in Mexico who hates music.” Still, Miguel can’t let his dream of making music go. He studies de la Cruz’s films and records, learning them note-for-note.
In his village Day of the Dead celebrations are being prepared. Photos of loved ones are placed on altars in hopes that relatives who have passed into the spirit world will come back to visit and enjoy the festivities.
In the village square a talent show draws a huge crowd. Miguel is desperate to perform, but needs a new guitar. Keeping the words of his hero in mind—Don’t let anything stand in your way!—he breaks into de la Cruz’s ornate crypt to steal the late singer’s guitar when something strange happens. Guitar in hand, he finds himself transported to the colourful Day of the Dead spirit world just in time to attend de la Cruz’s spectacular show. If he can get de la Cruz‘s blessing he can go back to the world of the living and be a musician but first he must learn the real story behind his unusual family history.
“Coco” is packed with music but it isn’t a musical. Characters don’t suddenly burst into song. Instead, the songs—and there are a few of them—are set pieces, deftly woven into the fabric of the story. The stand-out tune, “Remember Me,” written by the “Frozen” team of Kristen Anderson-Lopez and Robert Lopez, is heard throughout and used particularly effectively in the film’s tear-jerking finale.
Miguel’s love of music is the film’s McGuffin, the thing that drives the story, but “Coco” is more about the importance of family. Pixar has found a way to embroider a familiar kid’s movie motif with deeper messages about remembrance and the passing of time.
“Finding Nemo” and “Bambi” aside, mortality is not a big topic in children’s movies. “Coco,” however, embraces it; weaving an interesting story that toggles back-and-forth between the land of the living and dead. It celebrates the vibrancy of the Día de los Muertos celebrations, complete with skeletons in dazzlingly costumes and sugar-skulled characters aplenty that are kid friendly in a “Nightmare Before Christmas” kind of way. “The Walking Dead” this ain’t.
Visually “Coco” is spectacular. Whether it is the intricately realized skeleton characters or the perfect sheen on the water Miguel dives into, once again Pixar proves to be ahead of the pack in terms of bringing pixels and terabytes of information to imaginative life.
“Coco” is a heartfelt tribute to Mexican culture but more than that it is a universal story about the importance of family that is heartfelt but never saccharine.
