While the much beloved studio still puts out terrific work like Inside Out, Coco, and I would even argue Toy Story 4, Pixar in the last several years has largely been defined by their disappointingly increasing interest in sequels to previous films, which – even if they’re solid and harmless enough – have mostly not come even remotely close to neither the quality of the original films, nor the high standards that the animation giant has set themselves up for. Doing sequels might be more practical from a business standpoint, but it isn’t what made the company special. For every Inside Out and Coco, there’s a Finding Dory, a Cars 3, and an Incredibles 2. Add the underwhelming response of The Good Dinosaur onto that pile, and the studio is suddenly no longer the well-oiled masterpiece cranking machine that it built itself up as over the years.
So, curious enough that the new Pixar film opens with showing us a fantastical world full of wonder and imagination, with a narration informing us that as time has gone by the world slowly lost the magic that made it special as the it sought out ways to do things more practically. After all, magic takes long to master, and why put in all that work when there are easier, more reliable new ways to do things. Why should a centaur run up to 70 mph when he has a car at the ready, as one character puts it. Even the general thrust of the narrative involves a set of characters trying to take some much needed risks in order to find that long lost spark of magic in order to complete their journey. It is not even remotely subtle, but it does put things in a fascinating context.
The film I’m talking about is Onward, which must’ve been pitched as “what if Bright, but good,” as it is set in a world that is very much like any fantasy realm, but modernized in a way that is all too recognizable and relatable. In that world, we follow two teenage elves, one is the awkward Ian (Tom Holland), and his older cocky brother, Barley (Chris Pratt). It’s Ian’s 16th birthday, and it turns out their deceased father left the two a gift for when they reach a certain age, which turns out to be a wizard’s staff, and a spell that will bring him back to life, but only for 24 hours. As the brothers cast the spell, a mistake leads the father only to be brought back as a pair of legs, and the brothers learn that in order to try the spell again, they need to find an ancient, magical stone. So, they set off on a quest to find the stone, and bring back the rest of their father before time runs out.
Pixar can’t seem to let go of their classic formula. Once again, the film is a road trip involving two mismatched characters, off on a journey where they find themselves, and come to terms with their place in the world and their relationship with each other. But hey, if it ain’t broke, don’t fix it. Though, one can’t help but find some of the characterization and plotting here a touch generic by this point, especially considering the general setup of the world honestly just isn’t all that compelling on its own, since it’s really just window-dressing that serves to tap into a couple fantasy genre specific gags and tropes that otherwise could be easy to write around, but then where’s the fun in that?
Despite some of the broader framework feeling a bit generic, what makes the film work is how it touches on deeply human themes, and that is where I found the film hitting surprisingly close to home. It touches on the feeling you have when you just want to spend a little more time with a lost loved one, dealing specifically with a father. Ian didn’t get to know him, and Barley was young when their father got sick, and passed away. I lost my father almost five years ago. He was also sick, and for a very long time, most of my life in fact. There are so many things I wish I could have asked him, things I could have talked to him about, things I could have done with him that I simply can’t do. That longing for closure is captured beautifully in the film, and it wouldn’t surprise me if co-writer and director, Dan Scanlon, is tapping into something personal here.
Because of how much its emotional beats touched me, I am willing to let some of the structural familiarity slide. Though, I can’t say the same would go for anyone else who didn’t share similar feelings. Like with most Pixar films, aside from its eagerness to pull on your heartstrings, it doesn’t forget that we’re still here to have a good time. The humor mostly sticks, with a nice emphasis on fantasy iconography that gets subverted with the mundanity of modern life, such as an ancient beast called a manticore (voiced by a delightful Octavia Spencer) now running a restaurant themed after her own mythology, complete with a costumed mascot. The fact that the father only appears as a pair of legs lends itself to some very amusing visual gags, as well as some tenderness when it comes to the way he recognizes and connects with his sons. The few action set pieces are exciting and thrillingly staged, and a final sequence involving a dragon is one of Pixar’s most imaginative creations in a while.
The voice work is solid enough from its all-star cast, even if there isn’t a ton of stretching from what you would expect from these performers. Holland is appropriately dorky and squeaky in his vocal inflections, and Pratt is as bold and brash as ever. Julia Louis-Dreyfus delivers an engaging performance as Ian and Barley’s mother, Laurel, who becomes far more involved in the adventure than I had anticipated, which is always welcome. Supporting players like Mel Rodriguez, Grey Griffin, Ali Wong, and Pixar’s obligatory John Ratzenberger mostly just serve to punch up with humor more than anything else, which is fine considering the intimate stakes focuses squarely on the brothers.
Onward will not necessarily blow anyone’s mind, and for many, it will likely fall into the category of mid-tier Pixar – which, to be fair, is still significantly better than most movies you’ll see. However, if – like me – you are able to connect with the film’s examination of loss and mending old emotional scars, I think there is a story to be found here that is deeply moving, meaningful, and cathartic. The arcs of the two brothers are very well realized, and it speaks to a greater truth about the way we connect in ways we don’t typically expect, and how those connections can shape us to become the people we are today. That personal touch has always been the hallmark of Pixar’s best works, and while it may not necessarily resonate the same way with everyone who sees it, Onward shows that Pixar has not totally lost its magic.