It’s been some time since I’ve actively liked a Pixar film on the big screen. The last time I was genuinely buzzing from excitement after seeing one of their movies theatrically was seven years ago, when Brad Bird released Incredibles 2, a movie I went on to see two more times in a cinema, which never occurs to me.
Apart from that, Domee Shi’s Turning Red was a definite high point for the studio, but it was sadly released on Disney+ with little to no fanfare, when it could’ve been one of the most significant theatrical events of that year. What came after, while admirable efforts in their own right, never grabbed me emotionally. Even Inside Out 2, which did virtually nothing to me, even if I had a particularly emotional connection with the first installment and hold it in very high regard as one Pixar’s finest achievements.
Now, the studio returns with another original film, Elio, which had a fairly lengthy production, after director Adrian Molina left the project to focus on Coco 2, causing Pixar to hire Domee Shi and Madeline Sharafian to complete the film and rework several aspects. From overhauling the character of Olga Solis (while also replacing original voice actress America Ferrera with Zoe Saldaña) and deepening some story beats that were introduced by Molina, what was ultimately on screen this year seemed very different from the teaser released in front of Elemental two years ago. Who knows if the first draft of the movie wasn’t any good, but what is currently on screen is one of Pixar’s most admirable efforts, and the best film they have released theatrically since Incredibles 2.
Story-wise, Julia Cho, Mark Hammer and Mike Jones’ screenplay doesn’t reinvent the wheel of an outcast who, after befriending aliens, rediscovers what’s most important about life and attempts to repair the fractured relationship he has with his aunt, who has been taking care of him since their parents’ tragic passing. This outcast is named Elio (Yonas Kiberab), and wants, more than anything, to meet aliens and live on their world. He thinks they will welcome him more than his aunt, who seems busy with work and wants to ship him off to boarding school in an effort to make some connections and perhaps have a friend who isn’t from his imagination.
When Elio eventually contacts an alien race, he gets abducted by its ship and is welcomed into the Communiverse, a shared environment where aliens from different races and planets share their knowledge. Thinking Elio is the ambassador of Earth, the aliens task him to negotiate with Lord Grigon (Brad Garrett), who plans to take over the Communiverse and enter war with the other planets. When his negotiation tactics (predictably) fail, Elio meets Grigon’s son, Glordon (Remy Edgerly), and uses him as a bargaining chip, as he does not want to go to war and participate in his father’s galaxy-domination plans.
A Predictable Story is Elevated by Show-Stopping Animation
From there, it’s pretty easy to figure out where the movie will end up, but it still manages to be an affecting piece of work, thanks in no small part to the staggering artistry behind its animation, probably the most expressive and artful Pixar has been in ages. There’s tangible, textured detail in each of the worlds it explores, whether the expansive, limitless possibilities offered by the Communiverse or even the real world, with shades of Spielbergian imagemaking as Elio wants a more freeing life than the one offered to him by his aunt.
Pixar is still in a quest for “realism,” in how it depicts its animated characters and environments, but the evocative use of shadows ensures that the artistry on display will always remain as jaw-dropping as it can get, particularly during its sob-heavy denouement. Yet, none of this would be possible without the rock-solid voice cast Shi, Sharafian and Molina assemble for the project. Kiberab captures the infectious energy and joy of a child who wants to love nothing more than to escape the confines of the real world and explore the limitless possibilities of outer space. He’s also a lot more resourceful and open-minded than most child protagonists in animated films, while also retaining his childhood spirit that will never be taken away.
The division of the fractured relationship he shares with his aunt and the burgeoning friendship with Glordon are among the most interesting aspects of the movie, with the directors always focusing on the profound humanity embedded in those two contrasting connections. The fractures with Olga are legitimate after Elio lost his parents, but they eventually learn that they complete one another, especially after the protagonist clones himself and believes that he is better off without her. Similarly, when Elio realizes that he and Glordon are more alike than they think, the two encourage themselves to say how they feel to Olga and Grigon, respectively, leading to Pixar’s most emotional conclusion since Turning Red.
Shi and Sharafian reverse some of the most known tropes of a world-dominating villain to their head and actively makes him realize how his plans are fruitless if his son isn’t taken care of, which is all that matters. This causes him to break down and say the most poignant line of the entire movie: “I may not always understand you, but I still love you.” It’s hard to hold back tears during this pivotal turn, even if you may see it coming a mile away. This does make some of the more emotional beats less impactful, especially when Elio and Olga unite on the same side, but you’ll still feel a lump in your throat when you get to Grigon’s realization that his aspirations may not benefit him – and his son – in any way.
If anything, you’ll still come out of Elio pleasantly surprised – and moved – by the impeccable visual storytelling on display, and an emotional center that feels so earnest, it’s hard not to resist what it ultimately proposes. Is it a bit schmaltzy at times? Sure, but what isn’t? Sometimes, it’s best to leave cynicism at the door and let your inner child go wild…
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