No longer young - though we don’t know exactly how old - he makes a living teaching music to middle-schoolers while chasing after gigs.
Joe, a jazzman like his late father, is at a crossroads. (Slated to open in theaters earlier this year, it is streaming on Disney+.) Having conquered fish scales in “Finding Nemo,” beastly fur in “Monsters Inc.,” metal in “Cars” and vermin in “ Ratatouille,” the animators have set themselves more subtle challenges. The world that human souls pass through on our way into and out of life is a glowing, minimalist realm of embodied metaphors and galaxy-brain jokes, populated by blobby, ectoplasmic souls and squiggly bureaucratic “counselors” named Jerry.īut at the same time, “Soul,” directed by Pete Docter and Kemp Powers from a screenplay they wrote with Mike Jones, represents a new chapter in Pixar’s expansion of realism. “Soul” follows “Coco” in conjuring a detailed vision of the afterlife - and also, in this case, the before-life - and joins “Inside Out” in turning abstract concepts into funny characters and vivid landscapes. It’s rare for any movie, let alone an all-ages cartoon, to venture into such deep and potentially scary metaphysical territory, but this is hardly the first time that the studio has directed its visual and storytelling resources toward mighty philosophical themes. Why do I exist? What’s the point of being alive? What comes after? In about 100 jaunty, poignant minutes, “ Soul,” the new Pixar Animation feature, tackles some of the questions that many of us have been losing sleep over since childhood.
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