Review Round Up: Soul

We round up the reviews for pixar’s latest film which has had its premiere at the London Film Festival.

The Guardian: ***** “It’s all very headspinning, and there is real Yellow Submarine quality to the film’s innocent urgency and idealism which take it to the very brink of incoherence.”

Indie Wire: “With music at its core, it’s no surprise that the soundtrack is one of the company’s best, although it’s quite as jazzy as one might expect, with the movie’s two worlds separated by different scores.”

The Independent: ***** “not only does Soul live up to Pixar’s own impossibly high standards, but it represents the very best the studio has to offer: beauty, humour, heart, and a gut-punch of an existential crisis. The children will laugh and cheer; the adults will sob until their muscles ache.”

Digital Spy: “Even though the movie doesn’t live up to the impressive opening, Soul still manages to deliver some emotional beats as it builds to its climax. There’s not the gut punch like Up‘s opening and Bing Bong’s death (“take her to the moon for me…”), but a touching montage highlights the movie’s message, backed by a gorgeous piece of music.”

The Telegraph: ***** “Disney’s decision not to release this metaphysical animation in cinemas is dismaying. But its artistry and insight will shine on any screen.”

The Wrap: “Weirdly, amid all the glistening animation, layers of polished storyboarding, tidy life philosophies and zingy dialogue exchanges, what’s missing at the end, is a bit of soul.”

Hollywood Reporter: “Featuring possibly the best soundtrack in a Pixar film since the first Toy StorySoul sports a jazz score that is not just an adornment to the story or an emotional enhancement, but an utterly integral part of the narrative. Joe’s talent for improvisation, and for listening to others, are key to his development as a character and foundational to what he manages to teach 22.”

Deadline: “If Soul’s lofty ambitions don’t fully hit the mark, the fact that one of animation’s preeminent mainstream houses can shoot for these kinds of stars at all is cause for celebration. It’s a concrete return to the Pixar of old, full of grand ideas and original execution, and a statement of intent for Docter’s steering of the Pixar ship away from endless sequels and back to inventive originals.”

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