Pixar films used to wow me. The heartbreak of the first-flirtation-to-funeral montage from Up. The pinpoint relatability of Mr. Incredible not fitting into an office setting. The shattering glass of understanding in your head when you figure out that sadness is as important as joy in Inside Out.
Elio features almost none of that. Don’t get me wrong. It’s not a bad movie. It’s just not presented with the pedigree of Pixar. One problem could be Disney. Studio insiders told the Hollywood Reporter that Disney execs couldn’t keep their hands away from Elio, tearing away the elements that made it personal because they wanted a more masculine character.
The changes led to a new director taking over, which obviously adds to the issues. Adrian Molina (writer and co-director of the amazing Coco) came up with the story because of the isolation he felt as a child. When a filmmaker has a singular vision — and it’s personal — they imbue a sense of themselves into the story, characters, and settings. That kind of fearless ownership creates vibrant cinematic experiences.
Instead, Disney comes crashing in, wrestles away control, and knocks off Elio’s parents to emulate the kind of empathy that happens when people give themselves over to their art.
Look, the space world is vibrant. There are beautiful elements. It just feels shallow. Pixar’s stories are always grounded in the kind of relationship insight we can all relate to: family, friends, our emotions, our neighbors, and (for us famous folks) our audiences.
If you strip away the living toys, lovable robots, colorful emotions, and superpowers, you still have fantastic stories built on a foundation of empathy. Elio tries to do that by killing the parents and creating tension with an aunt. It works. An alien friend’s tenuous relationship with his militaristic father also works.
And that’s where we’re at with Pixar these days. The movies — they work. They’re fine. But they don’t hit you like classic Pixar. Disney’s influence is evident. You see a movie that you struggle to connect with. But you can see how it’s cross-promoted to build content across theme parks, cruise lines, and streaming services.
With Disney, a grander vision is at play. It’s not about storytelling. It’s not about using this artistic format to expose yourself as a filmmaker, which is how you connect with other people. It’s about a massive company that sees Pixar as an asset to appease stockholders more than filmgoers.
Don’t let me sway you from watching Elio. The formula works. It’s clean-cut. It’s funny enough. The energy and music are good enough to pull you along to an emotional ending.
You don’t need gallons of whiskey to suffer through this solid but not great movie. If you do blackout, don’t worry — you weren’t going to remember it anyway.
Elio doesn’t stick with you. Not like your favorite Pixar films.
In theaters: Now on fewer screens
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Where to watch
Rating: PG (Me: 6+)
Directors: Madeline Sharafian, Domee Shi, Adrian Molina
Starring: Yonas Kibreab, Zoe Saldaña, Remy Edgerly
Run time: 1h 39m
Post-credits scenes: There’s a charming extra scene that follows the first section of credits. After all credits roll, there’s a tease for Pixar’s next project Hopper.
Bathroom breaks: According to RunPee…
- 33:00 when Aunt Olga says, “I love this song.”
- 48:00 when the liquid supercomputer says, “I’m customizing your membership badge right now.”
- 1:08:50 when Elio and aunt both yell at the clone, “Wait!”
Sequel? Probably not
If you liked Elio, check out these films:
- Mars Needs Moms (2011) (5+)
- Astro Boy (2009) (5+)
- Explorers (1985) (6+)
- Flight of the Navigator (1986) (6+)
- Zathura: A Space Adventure (2005) (6+)
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Find this title on the Family Film Recommendations list
