‘You can’t crush a soul here. That’s what life on Earth is for...’
Things were looking a little shaky there for Pixar after the release of Inside Out. The Good Dinosaur, Finding Dory, Cars 3, Coco and Incredibles 2 all had some nice moments, but they are marked a steep regression from peak Pixar. Toy Story 4 steadied the ship and since then we have had Onward, Soul, Luca and Turning Red. A veritable feast of cartoony goodness…
Joe (Jamie Foxx) is a high school music teacher who dreams of making it big. These dreams are tempered somewhat by his death. Upon reaching the afterlife, Joe decides that he still has more to achieve back on earth, and so, he enlists the help of 22 (Tina Fey), a difficult and troubled being who refuses to even countenance living her life on earth.
Now, it’s almost a given that any Pixar film will be visually stunning, but I think this one is probably the most aesthetically satisfying film that the animation giants have released. A truly magical affair that renders the afterlife in gorgeous Picassoesque abstract shapes and soft pastel colours. I could have spent hours inhabiting the world that directors Pete Doctor and Kemp Powers have created here, and the scenes on earth are just as gorgeous.
Another precedent is that Soul is probably the least accessible Pixar movie. Much of this will go over the heads of younger children, and the final message is delivered in a way that is subtle, some my find it a little underwhelming. Me? I found this restraint to be a breath of fresh air. Soul is a film that doesn’t compromise on its message and how that message is delivered. It takes its time to get there, but the journey is so wholesome and so wonderful that it barely matters. Comparing this film to Encanto which came out a year later really is an indicator of just how far Disney lags behind Pixar in terms of its animated output (and yes, I realise the irony there).
Soul is the best Pixar movie since Inside Out (although it’s worth noting I haven’t got round to Turning Red yet). It’s big hearted without reaching for over sentimentality, it’s ambitious without compromising on storytelling, and most of all, it’s the most original film in their roster for years. An unqualified success.