By Bill Friedell
Pixar makes its first foray into the fantasy genre with Dan Scalon’s Onward (2020). Mixing humor, heart, and even some tears, Onward brilliantly fuses the tropes of fantasy with a world that reflects our own complacent world as it complements a story of brotherhood. Onward follows Ian (Tom Holland), a sixteen year old elf and his older brother Barley (Chris Pratt) as they are given the chance to be reunited with their deceased father for a single day with a magic spell. However, the spell doesn’t bring him completely back, bringing back only half of him. To bring back the top half, Ian and Barley must go on a quest to find a gem to finish the spell.
Both Holland and Pratt are perfectly cast as their respective characters. While neither role stretches the acting chops of either actor, they manage to use that to their advantage, pouring in all of Holland’s timid, sweet demeanor and Pratt’s boisterous lovability into their characters. Combining these two actors’ voices together creates a believable, brotherly chemistry.
The blending of fantasy with the modern world works excellently as it not only works from a visual perspective, but also from a thematic standpoint. The movie clearly states that the world is the way it is because of convenience and complacency, losing touch with its magical roots. Ian finds himself being insecure and continually failing to stand up for himself. And just as Ian doesn’t remember his father, the world has forgotten about magic. Throughout the film, there are many instances of characters regaining a fantastical element associated with their fantasy pasts, such as the Manticore (Octavia Spencer) who goes from being a restaurant manager whose glory days are behind her to a winged warrior hero. In Ian’s quest to regain his father for a day, he learns of magic and gains the confidence he lacked in the beginning. Ian’s change over the course of the film, feeling both organic and is satisfying. Barley also gets depth and an arc of his own as he remembers only a few memories of his father and has his own heartbreaking reason why he wishes to see his father.The writing also works well beyond the themes and character arcs. The screenwriters masterfully weave setups and payoffs for both comedic and emotional payoffs.
Both Holland and Pratt are perfectly cast as their respective characters. While neither role stretches the acting chops of either actor, they manage to use that to their advantage, pouring in all of Holland’s timid, sweet demeanor and Pratt’s boisterous lovability into their characters. Combining these two actors’ voices together creates a believable, brotherly chemistry.
The blending of fantasy with the modern world works excellently as it not only works from a visual perspective, but also from a thematic standpoint. The movie clearly states that the world is the way it is because of convenience and complacency, losing touch with its magical roots. Ian finds himself being insecure and continually failing to stand up for himself. And just as Ian doesn’t remember his father, the world has forgotten about magic. Throughout the film, there are many instances of characters regaining a fantastical element associated with their fantasy pasts, such as the Manticore (Octavia Spencer) who goes from being a restaurant manager whose glory days are behind her to a winged warrior hero. In Ian’s quest to regain his father for a day, he learns of magic and gains the confidence he lacked in the beginning. Ian’s change over the course of the film, feeling both organic and is satisfying. Barley also gets depth and an arc of his own as he remembers only a few memories of his father and has his own heartbreaking reason why he wishes to see his father.The writing also works well beyond the themes and character arcs. The screenwriters masterfully weave setups and payoffs for both comedic and emotional payoffs.
A humorous and heartwarming scene of Barley (Chris Pratt) and Ian (Tom Holland) dance with their Dad (his lower half) not only creating time to breathe in the narrative, but becomes a key moment in Ian's journey for what he truly needs.
The overall style of the film feels very authentic to the fantasy genre and gives a sense of timelessness, despite feeling very modern. There’s touchstones of fantasy storytelling such as the various mythical creatures who inhabit this world, an opening prologue that explains the context of the world, and a quest for a macguffin. The music also has touches of fantasy-esque instrumentation, such as when Ian is about to walk into his high school. And while the aesthetics are modern mixed with fantasy, there isn’t any overt pop culture references or forced incorporations of trends. The audience is mercifully spared from the characters doing something cringe worthy such as floss dances as it would remove from the timeless feel that the film exudes, while still dealing with the world of today and the challenges it presents us.
Overall, Onward is a delightful fantasy adventure that is full of emotion and fun. It gives clear and satisfying arcs to the characters and ties their character journeys into the larger themes of the film as presented by the world around them. If you are a fan of the fantasy genre, animation, or well told stories, Onward will have something for you to marvel at.
Overall, Onward is a delightful fantasy adventure that is full of emotion and fun. It gives clear and satisfying arcs to the characters and ties their character journeys into the larger themes of the film as presented by the world around them. If you are a fan of the fantasy genre, animation, or well told stories, Onward will have something for you to marvel at.
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