IR Film Review: ONWARD [Pixar/Disney]
The creation of new stories especially from the talent at Pixar is an interesting evolving evolution. The new iterations of IP are the first per se of originals after the departure of John Lasseter. Even though his removal was warranted, and despite the presence of so many of the original creative people, there is a slight hole, however miniscule within the structure. “Onward” works well and bring in textures of mythology but within the context of a modern world. It is intrinsic but, despite the quest motif, almost seems smaller than one would expect. The story works well though maybe a slight more complicated that the usual Pixar but as always deals with some sort of loss that must be regained through the transformation and path of a character.
The story follows the texture of two brothers, one of which Ian (played by Tom Holland) is becoming a man. He lost his father before he ever knew him. Barley, his brother, (played by Chris Pratt) is a fun-loving almost D&D outsider who teases his brother but loves him in his way nonetheless. This is not our world. This is a magical world where winged horses fight over garbage like dogs and cats and homes are sometimes made of mushroom. But modernism has taken the place of magic…which of course is an apt metaphor. The brothers discover a spell that will bring their father back for one day but the initial try (because Ian hasn’t ever tried to use magic) makes it so that only the bottom half of their father is there. In order to restore them they have to find another crystal that goes in a wand to conjure up the other half. Only problem is that the resurrection spell for their father only lasts for a day.
The quest itself is fun but mostly bittersweet. Small gestures by the bottom half of the dad are so small but mean so much which is why Pixar has always been able to translate to multiple languages. Holland plays a variation on his characters that start off meek but find a small degree of confidence by the end. Pratt’s Barney seems much closer to him as a person, even with his van Guinevere, which is an ode to Pratt’s life in his early 20s when he lived in his van in Hawaii. Pratt seems to go off script a little which is great but it seems maybe the animators tried to bridge it at times.
The true magic of the quest and the connection is almost a circle as the film ends in an interesting conundrum of a loop which actually works quite well and is quite existential in a way that “Finding Nemo” was in a way. But the realization in the final moments is handled exceptionally and with poignancy that, despite any shenanigans with the brothers, comes out truly 3-dimensional and formed. “Onward” is a evolving perspective of Pixar in staying with its true mission of stories of redemption while still making it undeniably heartfelt and accessible.
By Tim Wassberg
Posted on March 5, 2020, in Film Reviews and tagged animation, cable television, Chris Pratt, college television, disney, film review, inside reel, Onward, pixar, Sirk TV, tim wassberg, Tom Holland, tv colleges. Bookmark the permalink. Leave a comment.