'Soul' Review
PG: Thematic elements and some language
Runtime: 1 Hr and 40 Minutes
Production Companies: Walt Disney Pictures, Pixar Animation Studios
Distributor: Walt Disney Studios Motion Pictures
Director: Pete Docter, Kemp Powers (Co-Director)
Writers: Pete Docter, Mike Jones, Kemp Powers
Voice Cast: Jamie Foxx, Tina Fey, Questlove, Phylicia Rashad, Daveed Diggs, Angela Bassett
Release Date: December 25 (Disney+)
Soul is set on a middle-aged African-American pianist named Joe Gardner (Jamie Foxx) who dreams of getting his big break while playing with the most respected Jazz musicians in NYC. Life has dealt him many losses — so many that his only option at the moment is to be a middle school band teacher. The same day that Joe gets promoted from part-time to full-time, he’s offered the gig of a lifetime to play with the legendary Dorothea Williams. He gets so wrapped up in his own head after booking the gig that it becomes the death of him… literally. He manages to escape before reaching the great beyond but ends up in another realm called The Great Before. Under strange circumstances, he’s paired up with 22 (Tina Fey) a soul who’s lived for centuries in The Great Before and refuses to start life on Earth. The pair ends up working together to get Joe back to his body while he helps 22 see the joys of life on Earth.
Out of all the filmmakers working at Pixar Animation Studios, it’s safe to say that one of the top directors who has delivered nothing but hits without a stain to his name is Pete Docter. So, when I say (with major Lizzo energy), “I’VE BEEN WAITING FOR THIS ONE!” I mean it with every fiber of my being. As a Black person who adores all things animation, I’ve been waiting tirelessly for Soul. It was my #1 most anticipated movie of the year. I didn’t care about any Marvel or DC movie; I just wanted my Black Pixar movie. Granted it’s about a Black person who dies within the first 10 minutes, but what’s a Pete Docter flick without death within the first 10 minutes.
Docter’s filmography presents an obvious recurring theme — duality. From Up to Inside Out and now Soul, Docter likes to set his two lead characters with contrasting personalities. Up’s Carl Fredricksen was an old curmudgeon while Russell was a wide-eyed and adventurous kid. Inside Out’s Joy was joyful and Sadness was… well, sad. That same foundation is present in Soul where much of the story is centered on two polar opposites — a soul trying to get back to Earth to live his life and a soul who refuses to start hers — working towards a common goal. The result is yet another beautiful experience that stands as one of the studio’s finest creations since Coco. With its ambitious first act, which takes Joe from life to death in the first ten minutes, the film becomes a buddy adventure as he begins to mentor 22. Naturally, Tina Fey and Jamie Foxx deliver outstanding vocal performances. Because of how fully realized their respective characters are, I never thought of the voice talents and only saw the characters as who they were. Unlike Pixar’s last film Onward, I wasn’t thinking “Okay, it’s these A-list actors collecting a check but no it’s more than that.” They are delivering great voice performances and have a great dynamic that worked as amazingly as Amy Poehler and Phyllis Smith in Inside Out.
As far as details and technical aspects in animation go, Pixar is the golden standard. Even with their weakest efforts, you can’t help but admire the crisp and ridiculously detailed animation. Much like with Inside Out and Coco, the creative team of animators crafted two separate worlds — one based in reality, the other based on imagination, featuring unique visuals and character designs that give it its own distinct personality. Soul brings the realm of The Great Before and New York City to life in such a phenomenal and breathtaking way that it’s kind of overwhelming, especially if you are a New York resident like me. The art direction in The Great Before is absolutely incredible, from the environmental designs to the character designs of both the souls and the higher-up counselors who help souls find their quirks and personalities before heading to Earth.
Visually, many will compare Soul to the works of Don Hertzfeldt, especially regarding the use of a soft color palette, the avant-garde existentialist aesthetic that he’s known for, and the simplistic stick figure-like designs of the counselors. However, I feel like Soul is able to bring its own imaginative flair with the variety of settings they create to bring this spiritual world to life. It helps give the overall story a sense of epic grandeur. I love how they gave the counselors a unique 2D appearance with the squiggly line art while still maintaining a 3D look. The designs of all the Black characters are also very inventive. It’s not just Joe; it’s the people in his neighborhood, like his mom, his mom’s friends, and everyone at the barbershop. I love the variety of sizes and physiques within the human ensemble that many Black people can identify with. You can tell the animators had a fun time creating these characters.
The world of The Great Before is incredible, but the animation of New York City truly took my breath away. I thought their hyperrealism peaked when they added dust particles in Toy Story 4, but no. Soul is their hyperrealistic peak. From the crowded sidewalks to the grittiness of the subway, everything is animated remarkably. If you’re a native New Yorker, you can tell Joe Gardner resides in Astoria, Queens. Some shots are so authentic to the life of a Black New Yorker that it made me miss living in NYC. They got so much of the culture of the city down, I nearly teared up at just how overwhelmingly beautiful it was. God, I miss the crowded liveliness of living in the New York City.
Kemp Powers is Soul’s co-director as well as one of its three writers. His voice is so strong and authentic as a storyteller that throughout the second act, which is primarily set on Earth, you can easily identify which pieces Powers controlled in the direction of the story. While I will elaborate on the mixed criticisms I have for the film’s second act, I admire how completely authentic it is to the environment of New York City through a Black man’s perspective… more or less. One of the most human scenes is set in a barbershop and you can just tell that Powers took control of that moment. Only a brother knows how to write a good barbershop scene.
Many will criticize the twist that occurs in the film’s second act because Pixar didn’t reveal that gear shift in the plot. It’s not the first time Pixar has withheld all footage of their film’s second act as an element of surprise. Remember how Brave never showed you anything about Merida’s mom getting turned into a bear? Well, Soul also uses a similar plot device regarding an animal in order to drive the story. Without giving too much away, the criticism will definitely apply to that twist as it continues a frustrating, tiring trend in animated movies (excluding Spider-Verse) regarding Black lead characters. It’s one thing that Joe isn’t in his physical form and is a green metaphysical soul for the first act, but with that twist, HE DOESN’T GET BACK TO HIS PHYSICAL BODY for a good chunk of the movie. The plot device is familiar and feels more like a safe decision in order to mine cheap jokes, which disrupts the mood. When the second act twist occurs, Soul becomes a “take it or leave it” situation. Initially, I was mad but eventually I was all for it.
I commend the writers for reeling it all back to the theme of duality. Don’t get me wrong, the movie’s central message is about purpose, but in the grand scheme of things, it’s really about Joe and 22 teaching each other about their perspectives on life. Joe must discover that life is more than just his passion and 22 must learn about life on Earth through the perspective of her little soul that has never experienced it before. The film gets you completely invested in Joe and 22’s journey through the realm of life and by the third act you’re on the verge of tears.
Just like Up, Soul has a very meticulous and emotionally effective setup. Within the first ten minutes of its cold open, you get a glimpse of Joe’s life. While the story’s prologue is emphasized, it truly lacks an epilogue. I like the ending for what it is and it provides a hopeful message, but at the same time, it’s too abrupt of an ending considering what happens to Joe in the first act. There are some narrative pieces that leave you wanting more, especially after its intricate 10-minute setup.
That being said, my expectations were high for this film as it is with nearly every Docter directorial project. Soul exceeded them on most fronts. It’s a bold and ambitious story about the perspective of life that made me feel seen not only as a Black person but also as a New Yorker and most importantly a human being. A human being who misses living life — getting haircuts, going to clubs, and having fun in the city that shaped me into who I am today. Given the current bleak state of the world, Soul gave me a sense of hope for the future. It doesn’t stick the landing in terms of story, for its third act ends too abrupt, but it’s still one of the best and most ambitious Pixar entries since Coco.
Man, Pete Docter is an auteur and we should say it.
