I watched Soul yesterday (via Disney+) and I have to say, Pixar Animation Studios has proven once again why they rival Walt Disney Animation as one of the leaders in quality animated films! With that being said, let's see just why this movie stands out as a true bright point in the mixed bag that was 2020!
Soul revolves around Joe Gardner, a middle school music teacher and an avid jazz pianist who looks to have finally gotten his big break with an upcoming performance alongside renowned jazz musician (who specializes in the saxophone) Dorothea Williams. However, a sudden accident involving an open manhole results in Joe's soul getting separated from his body, which lands him in the 'Great Before', a 'realm' (for lack of a better term) where souls are developed before (literally) descending to begin life on Earth. With the help of a pessimistic soul named 22, can Joe get back to his body before it's too late?
In a year as (at numerous times) messy as 2020, it seems only natural that people around the world would find themselves becoming sardonic over the direction(s) life has taken; Soul shines in that, throughout its narrative, it shows audiences various (though not random) examples of what makes life worth living, as well as the meaning of 'purpose' (in the context of individuals) and manages to do so in a way that avoids coming off as ostentatious or drab, which is testament to the filmmakers at Pixar's talent for delivering compelling and poignant narratives/themes.
One of the most standout aspects of this movie has to be its cast, particularly its leads. Academy Award-winner Jamie Foxx stands as another example of Pixar's terrific ability to find the right actors for given roles, as he brings Joe Gardner to life in a way that doesn't feel derivative of his previous works (e.g., Ray, Django Unchained, Baby Driver), whilst at the same time managing to make the character his own in terms of the believability of his voiceover performance.
While Foxx is admirable as the main character, Tina Fey calls to mind Billy Crystal's portrayal of Mike Wazowski in Monsters Inc. (which was the directorial debut of Soul's director, Pete Docter, who also helmed Up and Inside Out) in terms of how virtually irreplaceable she is as the soul known as 22. Fey almost effortlessly realizes 22's particularly cynical (at least initially) outlook on life, as even though she hasn't been to Earth prior to the movie, it's established that 22 has had hundreds, if not thousands, of 'mentors' (who are the souls of individuals who've made noteworthy contributions during their time on Earth, such as Abraham Lincoln or Mother Theresa), thus giving her something of an idea (albeit an incomplete one) of what life is like. The fact that some of the most laugh-out-loud moments of the movie involve 22 in some capacity is testament not just to Doctor's (along with co-writers Mike Jones and Kemp Powers, the latter of whom also co-directed the film) directing and writing, but also to Fey's vocal performance (funny enough, she actually helped in writing 22's lines, thus leaving an even bigger mark upon how her character was ultimately realized!).
Although Foxx and Fey certainly do well as their individual characters, where Soul really shines is in Joe and 22's interactions, as together, they have arguably one of the most memorable character dynamics in recent memory! They bounce off each other in a remarkably organic way that's incredibly engaging (and amusing at multiple points), yet still moves the narrative along very effectively. Between the duos of Mike & Sulley in Monsters Inc. and Joe & 22 in this movie, Pete Docter has proven that he knows how to create believable dynamics between characters, which in the case of Soul, helps viewers get even further invested in what unfolds onscreen!
With Soul being an animated film being produced by Pixar Animation Studios, there's no way I could do a review of it without addressing the animation. In addition to compelling stories and unforgettable characters, Pixar has made a name for itself in creating visually arresting and immersive worlds; suffice to say, Soul stands proudly as the latest illustration of this legacy! While the film's rendition of New York City is able to stand out from previous animated renditions of the iconic location, where it really shines is in its depiction of the 'Great Before', a striking realm that's impressively visualized with a color palette that consists predominantly of a gentle blue and purple/violet/magenta, and bears a landscape peppered with rounded hills. In addition to the hundreds of unborn souls, the 'Great Before' is populated with astral beings acting as soul counselors that all share the name 'Jerry' and, according to a website I frequent named TV Tropes, they, along with an obsessive accountant for souls entering the Great Beyond named Terry, are all 2D-animated! Despite their abstract appearances, these characters are integrated into their 3D world seamlessly, and the fact that I didn't know/couldn't readily tell they were 2D-animated instead of 3D-animated until after watching the movie is yet another thing to commend Pixar's animators (and other artists) for, as it shows just how far the company has come since Toy Story's release over 20 years ago.
Unlike Docter's previous two animated projects, Up and Inside Out, Michael Giacchino didn't return to compose the score for Soul; instead, Trent Reznor and Atticus Ross of the band Nine Inch Nails were brought on for the score of this film, while musician Jon Batiste produced several jazz numbers (which is rather fitting, considering what Joe's passion and occupation are) to accompany the portions of the movie that take place in New York City. Despite all this talent behind the scenes, I feel like the resulting music, while complimenting what unfolds in Soul quite nicely, ultimately pales in comparison to what's heard in Pixar's previous soundtracks (e.g., Finding Nemo, The Incredibles, WALL-E). However, my indifference towards this film's music may be due to how I was more focused on the story, characters, and animation, which certainly isn't a bad thing in itself; perhaps, upon rewatching Soul and/or listening to its soundtrack in the future, I can attain a new appreciation for Reznor, Ross, and Batiste's musical contributions. Only time will tell!
Besides the music, issues I have with Soul pertain to the Great Before and the fate of one of the main characters. In regard to the Great Before, I found it to be an intriguing and well-realized location that I wish could've had more screen time to be explored, as it is a solid example of a world that leaves you hungry for more! I'll be going into spoilers for the next point, so consider this your official spoiler warning; jump past the 'end spoilers' portion of this paragraph to skip over this portion of the review. The last time we see 22 towards the end of Soul, she's on her way to be fully 'born' in an undisclosed part of the world that's left ambiguous to audiences, and we never find out what ultimately becomes of her. Considering how much I enjoyed Joe and 22's relationship throughout this movie, I was dismayed to see them parted; according to co-director Kemp Powers, one ending considered involved Joe touring with Dorothea Williams' jazz quartet whilst being a private music teacher as a secondary career. Here, it'd turn out that one of Joe's new students was none other than 22, whom he would recognize. This would've been such a rewarding way to reunite the pair after the journey they'd gone on together (and it would've tied into the appreciation 22 acquired for jazz earlier in the film), and as such, I feel incredibly frustrated that Docter, Powers, and co. chose to cut this ending! If they had kept this conclusion, it would've had the potential to be just as 'Heck yeah!!!'-inducing as Sulley's implied reunion with Boo just before the credits rolled in Monsters Inc. or Baymax's return at the end of Big Hero 6! Alternatively, in the future, Pixar could utilize the concept of Joe and 22 being reunited in the form of a short film or television special follow-up. It wouldn't be the first time Pixar's done a continuation in either of these formats, as Toy Story 3 previously got a trio of short films known as Toy Story Toons and two TV specials (Toy Story of Terror! and Toy Story That Time Forgot), all taking place after Toy Story 3. With this in mind, who says Pixar couldn't do the same with Soul? END SPOILERS
With those gripes out of the way, after a bit of a hiatus in quality (as I personally found Coco to be rather overrated and thought Incredibles 2, while not 'bad' per se, was nonetheless a step down from its beloved 2004 predecessor), I'm happy to report I was most pleased with Soul! It explores compelling ideas, has well-executed and impressively acted characters, and dazzling animation, making this another home run from Pixar Animation. It isn't without its problems or things I would've changed, but this movie is an instance of Pixar at its best, and it's great to see the company moving back towards original projects (as opposed to churning out sequel after sequel of existing properties like the aforementioned Incredibles 2 and 2019's Toy Story 4). If Soul is anything to go by, the future certainly looks bright for Pixar, and I look forward to seeing more of them! I definitely recommend giving Soul a watch, hope you enjoyed my critique of the film, and I'll see you all in the near future!
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