Peter Sohn
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It’s been described as the best Pixar film in years which I think is selling Elemental, Soul and Turning Red short.
If Elemental proved anything, it’s that Pixar’s 2020s films have a baseline.
It is very similar to recent Pixar films like Soul, Turning Red, and Elemental, both aesthetically and thematically.
“Elemental,” while not top-tier Pixar, at least offered a fresh concept—anthropomorphized elements in a romantic comedy setting.
Para fans más del Pixar de ‘Elemental’ que del de ‘Coco’…
Pixar doesn’t turn out many clunkers, though the recent “Elemental” came close.
Suddenly, a John Ford movie breaks out, with Sohn seemingly paying to tribute to movies such as “The Searchers” by surrounding characters with detailed and stunning Western vistas.
If humanity successfully pollutes all the world's water, kills off the greenery, and breaks every mountain down for oil, future generations can lie in their dwelling-tubes and watch The Good Dinosaur alongside films like The Searchers and Shane to remind them exactly what the wide-open spaces of the American West once looked like.
Recent Pixar films like Elemental and Elio felt too beholden to rigid narrative structures and “respectability”.
Tras el éxito de películas profundamente introspectivas como Inside Out, el estudio parece oscilar entre dos estrategias: por un lado, propuestas conceptualmente ambiciosas como Elemental o Elio, y por otro, producciones más ligeras orientadas a un público infantil inmediato.
Elio and Elemental felt constrained and formulaic…
It stands up with the quality of, say, Turning Red (2022) or Inside Out 2 (2024) rather than Lightyear (2022), Elemental (2023), or Elio (2025)…
…and outright misfires such as “Elemental” and “Elio,” this feels like a genuine course correction.
We also end up comparing Hoppers to a whole stretch of recent Pixar: Elio, Elemental, Turning Red, Luca, and Soul.
In terms of the humour, the franchise does something similar to Elemental (2023), where lots of jokes draw from a combination of nature and our own civilised society.
Like Elemental, Pixar’s own recent venture into summoning a fantasy metropolis as metaphor for cross-cultural connection, Zootopia 2 runs up against the climate-controlled walls of its own concept…
…or Elemental explored how migrant communities integrate while retaining their identity.
As with Cars, the problem isn't how the world is built, visually or conceptually.
The Good Dinosaur is an adventure very much pitched at pipsqueaks: like 2006’s Cars, less a family movie than a kid’s movie.
But that setup is calculated in the way that Cars feels calculated, too, because there's little connection between the world The Good Dinosaur creates and the straightforward coming-of-age tale it wants to tell.
It’s not that there haven’t been close calls before: “Cars,” “Cars 2,” “Monsters University.”
In fact, in the hierarchy of confusing Pixar universes, The Good Dinosaur lands only a couple notches below Cars and its various perplexing offspring.
I just assumed, therefore, that their second film of 2015, The Good Dinosaur, which had been moved around and delayed and re-edited quite a few times, would just be a minor work, like those two Cars movies, or Monsters University (which I love but is certainly not upper-echelon).
This is, as anyone who grew up during Jim Henson’s “The Dark Crystal” and “Labyrinth” era knows, a positive trend in family films.
Buckley) and Ramsey (Anna Paquin); a flock of ferocious Pterosaurs led by Thunderclap (Steve Zahn), and a gang of wild velociraptors who appear to be descendants of the "Chilly Down"-singing Fireys from 1986's "Labyrinth."
With the exception of the tot-friendly, adult-numbing “The Good Dinosaur” (2015), “Luca” is as much of a trifle as the Pixar Animation Studios have ever come up with.
More of “The Good Dinosaur” or “ Onward ” level for me, Luca doesn’t quite reach the potential that I have grown to expect from Pixar.
In both breadth and scope, Luca is by far Pixar’s most simplistic film, and that proclamation indeed takes into account the Cars trilogy and The Good Dinosaur.
On the surface, Luca is similar to other Pixar films, most recently Onward had the journey of kids going outside their comfort zone, as did Toy Story 2 , and The Good Dinosaur .
Lushly detailed waters have been sprinkled through many of the studio’s films, from the rushing river of “The Good Dinosaur” to the frothy seaside surf of “Piper.”
And though Pixar previously let Pete Sohn (another of its shorts-trained helmers) graduate to directing “The Good Dinosaur,” this is the first of the company’s features to center the Asian experience.
After a mortifying scene in which her mother publicly confronts her crush, and in doing so, exposes Mei’s embarrassing romantic doodles, Mei goes to sleep and experiences a wild series of nightmares (a sequence that challenges the hallucinations from 2015’s underrated The Good Dinosaur in their sheer strangeness).
More along the lines of the masterful “Toy Story 3” and “The Good Dinosaur” than the irritatingly spastic “Cars 2,” “Cars 3” is unassumingly one of the most poignant films so far of 2017.
The Cars franchise has been the black sheep of the Pixar family in many ways, with mixed reviews for the original Cars giving way to outright hostility over Cars 2. That latter film may indeed still be the nadir of the studio’s entire output despite dubious other legacies like The Good Dinosaur.
Docter is one of the more dependable hands that Pixar has, and “Soul” certainly feels like it has more, well, soul than the likes of “Onward,” “The Good Dinosaur” or any number of “Cars” films.
Motivated by the archetypal Disney trauma (the death of a parent), it's part frontier survival saga, part vision quest and part "Born Free," as a clumsy young Brontosaurus-like sauropod named Arlo (voiced by Raymond Ochoa) struggles to return to his family farm, accompanied by a tagalong "pet": a snarling but faithful young feral human (or "critter") that Arlo dubs "Spot."
The two also composed the music for The Good Dinosaur for Pixar back in 2015.
The musical score by Jeff & Mychael Danna draws from stereotypical epic adventure motifs and mixes them in with warmer, more sweetly emotional cues, and while it doesn't redeem Onward quite as much as their wonderful score for The Good Dinosaur managed to salvage entire scenes of that particular example of mediocre Pixar, it's at least enough to provide something of the right mood during the most unengaging chunks of exposition in the early going.
Coco’s worst-case scenario would be 2015’s poorly received The Good Dinosaur, which only grossed about $332 million worldwide, but decent word-of-mouth should save this new film from a similar fate.