One of these days, Pixar will make a movie that doesn’t pack an emotional gut punch that restores your hope in humanity and everything good… but today is not that day.
A tale of family, culture, and music, Coco is a celebration of much of what today’s audience have become jaded to.
A step away from other recent animated movies, Coco chooses to avoid the now trendy practise of casting big names, opting to go with an ethnically accurate cast–a trend I rather much enjoy. And it never hurts to have a little Benjamin Bratt for good measure.
In many ways, Coco is set up too easily to be a stumble for Pixar with its story at its sappiest, and its family-driven content pretty much front and centre. Throw in Pixar’s first attempt at what could be considered a pseudo-musical, and Coco is easily one of the riskiest efforts the studio has embarked on.
Inspired by the Mexican holiday Dia de Muertos (Day of the Dead)–kinda like Halloween, but with a lot more actual culture and a lot less slutty nurses–Coco explores a contemporary interpretation of the holiday, breathing beautiful, coloured, life into the many abstract practices behind it.
Wind it all together with a score by Michael Giacchino and Pixar has a full package of entertainment and emotions on screen, with a soundtrack worth paying for on iTunes… or, y’know, just downloading if you’ve already subscribed to Spotify.
The script stays sharp throughout despite a rather simple story and a somewhat predictable ending that serves its themes and characters well. And, as always, Pixar’s animation remains the bar to beat, only seeming less impressive than usual due to the ridiculous standards set by The Good Dinosaur.
Coco is out in theatres 23rd November and will probably be the only movie worth watching until 14th December