Onward
Pixar’s lastest release was, like most things on planet Earth, impacted by COVID-19. Released March 6, 2020, the film’s momentum was completely undermined by the growing threat of a new virus that was forcing people to stay out of movie theaters and bunker down in their homes. As headlines swept the world, movie releases were forgotten and a pandemic cloud settled in over the movie industry that has yet to clear. By April 3, 2020, Disney was forced to announce that “Onward” would be available for purchase or streaming on its new streaming service Disney+. Without the strong word of mouth and a high profile theatrical release, many have missed this delightful adventure from the master storytellers at Pixar.
Magic has all but faded away in this fantasy world of elves, Minotaurs and dragons; replaced by science and the trappings of a hectic modern world. Painfully shy, sixteen year old Ian Lightfoot (Tom Holland), and his brash older brother, Barley (Chris Pratt) find themselves rediscovering magic through a gift from their father who passed away when they were very young. A fantasy quest ensues in which the boys fight monsters, mazes and their own self-doubts for a chance to see their dad one more time.
Dan Scanlon (Monsters University) directs this deftly-paced adventure with all the fun of an Indiana Jones saga and the heart that we’ve all come to expect from Pixar. A huge step up from his earlier films. The conflict is tightly woven in an engaging twist that keeps the story moving without gaps, yet takes time when needed to let the audience feel the emotional depths of what is happening. These moments are poignant and allow the audience to connect with the characters on a very human level. That is what separates good film making from great film making and few production companies understand that better than Pixar.
Chris Pratt taps into his Andy Dwyer skills to brings a wide range to what could easily have been a one-note comic character in Barley. He is a standout in the film, switching back and forth from comedy to tender drama, with sincere and believable earnest. Holland is nuanced as Ian, throwing in phrases and mannerisms that make him feel very real and were likely not in the original script. The chemistry between the brothers is the centerpiece of the fun and the tender emotion of the story. Julia Louis-Dreyfus and Octavia Spencer are not given nearly as good of material to work with in their side story, but they both embody their characters and find a terrific comic rhythm to provide laughter and adventure.
This isn’t Pixar at its absolute best. The comedy is at times very contrived, where situations are forced into an absurd pretzel in order to make the punchline work. The awkward premise with the half-materialized father is a bit like a less morbid “Weekend at Bernie’s”, with the humor being a little strained at times. The idea of magic having been completely lost and replaced by science within one generation seems a bit unlikely and forced. The Manicore’s character is all over the place emotionally and hard to follow. However, the tenants of good storytelling are all present. The characters are engaging and the conflicts are complex, clear and believable. The result is a slightly flawed but wonderfully entertaining tale that taps into very real universal emotions.
As far as content, this story is steeped in magic and magical creature as it tips its hat to Dungeons and Dragons (if not by name, you get the idea), deals with the loss of a parent, contains intense action sequences, and makes a fleeting reference to an LGBT relationship.
Written by David Alford
Score: 89 out of 100
Parents: Yes!
Teens: Yes!
Children: Yes!
Tots: Might be a bit intense in action sequences at times.
