After the letdown of The Midnight Sky and the infuriating disaster that was Wonder Woman 1984, Pixar's latest -- Soul -- is a breath of fresh air.
In some ways it's not the most wholly original story -- it deals with someone prematurely dying and trying to get back to earth to fulfill unrealized promise -- terrain covered quite well in Heaven Can Wait (both versions) and A Matter of Life and Death. But it's a very thoughtful and emotionally mature film, gorgeously animated and performed with great conviction, especially by Jamie Foxx in the lead role.
Although Pixar's films are best enjoyed on the big screen with an audience, Soul plays quite well at home. It revolves around an affable music teacher named Joe Gardner who dreams of being a successful jazz pianist (in the world of this movie, jazz clubs are both hip and thriving in New York City) but spoiler alert is killed right before his dream gig.
It's a bravura opening that leads to some even more elaborate complication when Joe is paired with a nascent soul (dubbed no. 22) is search of a "spark" that will give her a fulfilling life in a person back down on earth. It all gets very complicated, and I'll admit a little confusing (I'm in the midst of trying to train and corral a puppy so I was very distracted while watching).
This is probably Pixar's most complex film since Inside Out and probably it's most sentimental since Up. I've enjoyed the Toy Story franchise, but generally speaking I think their one-off originals are always more satisfying than their spin-offs and sequels. And Soul deserves a lot of credit for being an effortlessly black film without patting itself on the back for it.
It has the kind of simple yet profound message that most children an adults can appreciate -- and it's funny and engaging enough to be a real crowdpleaser.
In other words, it was a real palette cleanser after the exercise in crass cynicism that was Wonder Woman 1984. Part of the reason Pixar rarely falls flat on its face (with the notable exception of the Cars franchise) is because its productions require years to prepare and execute, and that meticulousness really comes across on screen.
I know it's more complicated when dealing with real human beings -- but movies like Wonder Woman 1984 (and to a lesser extent The Midnight Sky) feel almost unfinished, as if they were rough drafts of what could have been a better more interesting film.
Like for instance, as charming as Chris Pine is, did he really need to be brought back for the sequel? I understand it's plot function --sort of-- but it would have made for an interesting movie (and given Gal Gadot more to do) if she had to learn to love someone new or came to grips with the idea that being alone is ok. Instead, we're saddled with a childlike premise about ... wishes?
It's been a frustrating movie season. With the exception of Ma Rainey's Black Bottom, the overwhelming majority of this year's awards fare is unavailable to rent or stream (at least at the moment) and there's just not a lot out there that is available to get too excited about.
I don't expect to be able to sit comfortably in a theater again until maybe June of 2021 -- so it's gonna be a long slow slog. Sigh.
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