Soul. (PG.)
Directed by Pete Docter and Kemp Powers.
Starring Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Richard Ayoade, Alice Braga and Angela Bassett. Available to stream on Disney + from Christmas Day. 100 mins.
That the last Friday of the year sees the new Pixar film arriving not in cinemas but on television is a sadness made more poignant by this being their first film in a decade to recapture what once made their work almost transcendent. I know that many of you adore Inside Out and Coco but for me, Pixar hasn't been Pixar since Up. A Pixar return to form would be a marvellous spirit lift at the end of a drudge of a year but, for the time being, the social distanced audience that saw its world premiere at the London Film Festival will be the only people to see it on a big screen.
The title is Soul but the subject is Jazz. (See, that's how good Pixar are: they can even make jazz magical.) On the day the film starts, Joe Gardiner (Foxx), a jazz pianist who teaches music at a New York school, finally gets his big break. And then he dies. Once he has passed over Gardiner struggles to escape from the other side and get another chance at life. But having settled in for a Pixar version of A Matter of Life and Death, the film then throws all kinds of unexpected turns at you.
In truth, the storyline is a bit convoluted and its concepts a little unwieldy in places. Director Docter still seems to have some unfinished business with his previous film Inside Out because he is reworking a lot of its themes and visuals here. To nitpick, some of the visualisations of the afterlife don't really grab your imagination and it's possible young children won't fully connect to it.
The animation though is arguably better than ever. Pixar has taken one clear step forward in that the humans are much more lifelike here than in previous films. People were always a problem before, but there are moments when Gardiner's facial expressions manage to communicate quite complex and subtle emotions.
Best of all, Pixar has lessened The Prod on this picture; it doesn't strongarm audiences towards the desired emotional response. It's still manipulative and the plot is full of contrivances but the emotional moments are subtle and unexpected. They feel real.
Directed by Pete Docter and Kemp Powers.
Starring Jamie Foxx, Tina Fey, Graham Norton, Rachel House, Richard Ayoade, Alice Braga and Angela Bassett. Available to stream on Disney + from Christmas Day. 100 mins.
That the last Friday of the year sees the new Pixar film arriving not in cinemas but on television is a sadness made more poignant by this being their first film in a decade to recapture what once made their work almost transcendent. I know that many of you adore Inside Out and Coco but for me, Pixar hasn't been Pixar since Up. A Pixar return to form would be a marvellous spirit lift at the end of a drudge of a year but, for the time being, the social distanced audience that saw its world premiere at the London Film Festival will be the only people to see it on a big screen.
The title is Soul but the subject is Jazz. (See, that's how good Pixar are: they can even make jazz magical.) On the day the film starts, Joe Gardiner (Foxx), a jazz pianist who teaches music at a New York school, finally gets his big break. And then he dies. Once he has passed over Gardiner struggles to escape from the other side and get another chance at life. But having settled in for a Pixar version of A Matter of Life and Death, the film then throws all kinds of unexpected turns at you.
In truth, the storyline is a bit convoluted and its concepts a little unwieldy in places. Director Docter still seems to have some unfinished business with his previous film Inside Out because he is reworking a lot of its themes and visuals here. To nitpick, some of the visualisations of the afterlife don't really grab your imagination and it's possible young children won't fully connect to it.
The animation though is arguably better than ever. Pixar has taken one clear step forward in that the humans are much more lifelike here than in previous films. People were always a problem before, but there are moments when Gardiner's facial expressions manage to communicate quite complex and subtle emotions.
Best of all, Pixar has lessened The Prod on this picture; it doesn't strongarm audiences towards the desired emotional response. It's still manipulative and the plot is full of contrivances but the emotional moments are subtle and unexpected. They feel real.
