Soul ends on the perfect note, its last moments overflowing in voluminous human insights so melodious I could happily hum its climactic tune for a lifetime and likely never grow tired of hearing it.
It’s all a bunch of colorfully anarchic, emotionally uplifting heartfelt supernatural silliness, all of which helps make Pixar’s latest comedic adventure Onward a goofy good time I’d be excited to see again.
I do hope Toy Story 4 is the last of the series, if only because the bow it puts on Woody’s four-film expedition is tied with such loving perfection I have trouble imagining the filmmakers could ever do better than what they miraculously accomplish here.
Ultimately, Incredibles 2 matters because Bird understands we as an audience are fond of Bob, Helen, Violet, Dash and Jack-Jack because they in turn love one another with selfless transparency. They’re the reason any of this has resonance, the reason we’ve been eagerly longing for a new adventure featuring each of them for over a decade.
Pixar’s latest animated offering Coco is a pleasant enough diversion, offering colorful visual delights that are as imaginative as they are gorgeous.
[Just] because Cars 3 is unlikely to win any awards or be remembered as one of the year’s great animated features doesn’t make it any less entertaining. Lightning’s return to the motor speedway is worthy of appreciation, the film’s eventual victory as unexpected as it is absolute.
Finding Dory doesn’t need to go beyond what the first film did, doesn’t need to reinvent its own wheel. What Stanton does is to instead remain true to his characters, never belittling them, never undercutting their personal truths, and in doing so, crafts a portrait of family and togetherness so rewarding, it’s practically priceless. In other words, much like its titular character, it keeps swimming, and in doing so teaches all of us life lessons that we likely already knew yet still could use to revisit all the same.
The Good Dinosaur is a children’s fable that is more than content to be exactly what it is and little more. None of which means adults won’t find plenty to cherish, they just won’t latch onto it as strongly as younger viewers undoubtedly will, and for my part I have no problem with that whatsoever.
“With kids, what’s the first language they speak? Well, that’s emotion…Even if they don’t understand the specifics of what is being talked about, if they see a character is upset or fearful or happy, they respond to that.”