I, like many theatergoers and critics, have been quite disappointed with the trajectory Pixar is heading toward this decade. The great majority of their works have felt lazy, uninspired, and without the vivacity that the studio’s early work had. They are not the only animation company experiencing this slump. However, since they were (and somewhat still are) the “top guys” in the animation space, you expect more from them. Films like “Toy Story” and “The Incredibles” shaped many of our childhoods. And now it feels that this generation’s youth are getting the worst end. Cinematically. That is not to say that Pixar projects are not connecting with audiences.
“Inside Out 2” rose to the top of the box office in the year of release. And the straight-to-Disney+ “Turning Red” resonated with critics. However, the vision and ingenuity that Pixar used to provide have dwindled vastly, and it is a complete and utter shame. The latest Pixar outing, “Elio,” has some promising elements that show that the creativity and artistry never left. Yet, it suffers from some of the same issues as their 2020s catalogue. Namely, this film—helmed by three up-and-coming and interesting filmmakers who have done projects for the company before in Domee Shi (“Turning Red”), Madeline Sharafian (“Burrow”), and Adrian Molina—is unable to recreate the feeling once again.
Loneliness is Felt Deep Within the Stars
Elio (Yonas Kibreab) is an outsider, an outcast who wants to be accepted for who he is. The kid wants to be a part of something. But he is constantly set aside because of his “weirdness.” A space enthusiast and obsessed with otherworldly creatures, Elio is the unusual yet charismatic kind, similar to some of the other outcasts in recent Pixar films with fantasy misadventures. Some great examples include the pairing of Luca and Alberto in “Luca” and Wade in “Elemental”. All of them want to be a part of something in a fractured and distant world. In the case of the young Elio, he wants to escape the isolated life of the military base.
From the schoolyard to his Aunt Olga’s (Zoe Saldaña) home, Elio feels entrapped in this slowly succumbing bubble, unable to feel free to be himself, his true self. This is why he often begs that aliens pick him up and take him elsewhere. And his wish comes true, but with some repercussions that serve as life lessons for everyone, whether alien or human. A group of aliens takes Elio to their planet, believing the the latter to be the ruler of his planet. This places the youngling in a situation that once again removes him from his true self. He has to pretend to be someone he is not, even in the place he had dreamed of being. The place where Elio believed he could be himself turned out to be quite similar to his hometown, full of people who ignored him because he was different.
These sci-fi ventures between Elio and the aliens that befriend him, and those against the kid hero, recall many classic romps of the galaxy. When it comes to worldbuilding, Pixar consistently delivers, even in projects that may feel or be relatively lackluster in other areas. It helps submerge the viewer in the story with intricate detailing in the background and setting. At the very least, in that aspect, Pixar, nor the directors on board, does not cheat you. However, “Elio” is lacking in other areas, such as thematic exploration and character development.
Oversimplified Meek Metaphors and No Room for Darkness
“Elio” never fully delves into the themes planted by the screenwriters, and instead settle on overly simplistic and “meek” metaphors that lack both whimsy and wit. It removes the trait on which Pixar used to market itself back in its heyday. It has the charm, of course, and bits of comedy that will make younger audiences laugh quickly.
The voice actors bring personality and charisma to the otherwise weak and single-layered script. The young Kibreab, in particular, gets a chance in the spotlight and fires on all cylinders. His voice is vivid, and with a dour tone when needed, which helps pick apart his character better. Brad Garrett is also a standout in the cast–his bombastic, deep voice is always recognizable. However, their characters are ultimately within the confines of the film’s narrow emotional range and underdeveloped arcs.
While visually stimulating and with sci-fi flair, the joyous and accepting notions of “Elio” tend to feel hollow, without the director’s need to complicate or add a layer of darkness to the story. And it robs the film of any thematic weight. The best animated features are those that tackle complex topics or those that are difficult to explain to a younger audience, delivering their message carefully and thoughtfully. That’s the power that cinema has. It can make kids confront these harsh realities—loneliness, death, isolation, negligence, and identity, among others—in a way that is easy for them to understand. When you simplify everything or cover the story in weak, overly childish metaphors, there is no room for that darkness to linger, later for the light to shine through via revelation. Instead, “Elio” wanders through the uncharted lands of the deep galaxy without a proper emotional or psychological resolution.
“Elio” premiered at the El Capitan Theatre in Hollywood, Los Angeles, on June 10, 2025. The film had its theatrical release in the United States on June 20, 2025. Follow us for more coverage.
