SOUL Review

Disney and Pixar have always had a tradition of being innovative if not groundbreaking, but with their latest - Soul - the animation studio pushes itself to what is unquestionably the most existential ground they've ever broken. What might have driven writing/directing duo Pete Docter (Up, Inside Out) and Kemp Powers (One Night in Miami...) to not only address death outright in an animated movie seemingly intended for children, but place it front and center as the biggest hurdle our protagonist has to overcome in the context of the film is a curious strategy. It's bold to say the least, but by the time my wife and I were a mere thirteen minutes in we were already convinced this would be far too much for our six year-old to handle as she already bursts into spontaneous tears at bedtime before bringing up that she doesn't want to lose her mom and dad to what Soul refers to as "The Great Beyond". It's not hard to understand why the ambition to tackle such difficult subject matter is present as movies are more than capable of being counseling and coping tools, but the question I was left to ponder as Jon Batiste's wonderful rendition of  "It's All Right" played over the closing credits was why Docter and Powers along with co-writer Mike Jones felt it necessary to try and steer children through the reality of death by barreling into the topic headfirst rather than finding an avenue through which to better explore the more prevalent themes like the idea of success equaling satisfaction or notoriety equaling credibility. There are glimpses of these ideas early on as we're introduced to Joe Gardner (voice of Jamie Foxx) and witness him wrestling with a conflict that pits his need for gratification against a more enduring legacy, but Soul quickly transitions to feeling as if Docter took the concept of Inside Out (as well as some of the character designs) and applied it to the afterlife as opposed to personifying emotions. It's like if a band started re-configuring their "greatest hits" while only being three full-length studio albums into their career; you want to remind the people why they fell in love with you in the first place, but you don't want your sound to stop growing and evolving. That isn't to say Soul finds fault for a lack of growth or evolution, but given the ethereal feel of this world we've never seen before along with the fact the film kills off its lead in the first half hour in order to answer questions about the meaning of life it would seem that, upon the film's conclusion, that some of the answers to those big questions would be a little more deeply felt, that they might tug at the heart strings a little more, or maybe even touch something deep inside ones...soul.     

ELYSIUM Review

Elysium is as much a disappointment as it is a success. While director Neill Blomkamp's first feature came out of nowhere with no sense of expectation and no precedent, it is because not only of the success of that film, but the quality that the bar was pretty high for his sophomore effort. I was especially intrigued by Blomkamp's second effort due to the way he was able to integrate such a strict science fiction plot into a documentary-like style in District 9. The worlds were blended so seamlessly to the point the audience was able to accept that this was not only an allegory for apartheid, but was a finely crafted, and emotionally poignant piece of filmmaking. While much of that could also be applied to Elysium the difference unfortunately comes in the latter part of that description where, while there is ample amounts of allegorical messages and high-tech science fiction, there isn't that element of the film that hits an emotional connection with the audience that makes the film as memorable as the way the directors previous film. What makes the movie just as much a success though is the fact that despite all of this, it still represents some of the better things about large scale filmmaking in today's world. Blomkamp made District 9 for a reported $30 million, but Sony gave the director a reported $115 million for his follow-up and to this great advantage the director created a fully encompassing world that gives the film real scope, real consequences, and a platform big enough to tell a story that parallels the issues of immigration and health care in today's world. While the more money you have the more extravagant the film can be, but what seems to have been lost in the process is the personal touch that was such a crucial element in his debut feature. All of this is to say that while I thoroughly enjoyed myself in terms of pure entertainment value (there are a few great fight scenes, interesting characters, and a bevy of baddies), but I was hoping for more of a compelling story, something that might move me, affect me, or leave me thinking about the film days later. Instead, what we have is an average action flick more in the vein of White House Down and 2 Guns than a film that has aspirations bigger than delivering thrills in the form of explosions.