Soul ★★★★½

I don’t know about you but I’m feeling (real existential angst about my purpose and whether I truly belong in this world like) 22.

It’s probably my favourite thing Pixar’s released since Toy Story 3. I mainly adored how this was still incredibly dedicated to being an adult existential drama even when the big unexpected switch happens during the second act. I was worried about the comedic body switch but again, it’s played as much for character drama as it is for comedy.

Honestly, I’m certain that a lot of kids would be bemused by this because the thematic beats surrounding life’s purpose, our passions and whether we’re doing the most with our life is so poignant and delivered in a mature way that I’m shocked some worm-brained Disney exec didn’t step in and demand more kid-friendly hijinks.

Whereas Onward felt very forced in its storytelling, Soul is natural and real—even within this wild limbo-like world which occupies a fair portion of the film. It’d also be a great double feature with Spider-Verse as animated films which vividly capture the energy of New York. It’s simply of Pixar’s greatest films on a pure visual level.

There’s scenes in barber shops and jazz bars that wouldn’t feel out of place in a classic drama. It’s Pixar stepping up their game. I could go on about Reznor and Ross’s score for days, I need it injected directly in my veins. 

Jamie Foxx is amazing and Tina Fey is never overbearing. Rachel House and Richard Ayoade steal so many scenes. Somehow Graham Norton does a far stronger job than Cordon would’ve in your classic comic relief from a Englishman role.

And yes to literally all the jazz in this as well. I don’t know if it was deliberate but there’s real La La Land vibes.

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