Onward, Ho!

When I was shy of 2 years old, my grandfather on my dad’s side died in a car accident. The news shook everyone, but no one more than my grandmother. She’d spend the next 11 years in semi-isolation, living solely for her grandchildren, before dying of cancer a few months before my Bar Mitzvah. Looking back, it’s clear she had a hard time coping with her husband’s death, as is expected. But while most of the family learned to deal with the pain, she never did.

While being stuck in emotional limbo over the death of a loved one isn’t uncommon, few movies have connected with that experience for me like Onward. The latest in a line of Pixar films, it tackles grieving while couching it with a premise based in fantasy and mythology. It’s a fun, funny and occasionally emotional experience that shows that Pixar isn’t afraid to tackle original premises after a decade of sequels. But does it stick the landing?

Onward takes place in a world where fairy tale creatures have embraced the luxuries of technology. The story follows Ian Lightfoot, a 16 year-old elf with insecurities stemming from not having a dad, and his older brother Barley, a D-’n-D fanatic whose blunders keep getting him in trouble. When their mother reveals a magic staff from their late-father, complete with a spell to bring him back for a day, Ian and Barley prepare for what’s in store. Unfortunately, the spell only brings back their father’s lower-half, forcing them on a quest to finish the job before time runs out.

Onward’s premise, though not executed to its fullest, embraces its premise and runs with it. The end-result is, as I said, fun, funny and occasionally emotional. Yet even with all of the above, there’s still a lot of room for imagery that really stretches the creative muscle. This is a movie that could’ve only been made by Pixar, something made apparent right from its opening, and it understands that.

The underlying themes of loss and grieving make this film feel, for lack of a better word, magical. The fantasy RPG-like elements are also a strength, no doubt, and the movie plays around with them. But this is really a story about loss and regrets. Ian never met his dad, but it’s Barley’s relationship with him that’s more tragic. We get the sense that the two left off on an unpleasant note, and that’s soured Barley up to adulthood. He buries his nose in role-playing and board games, often unable to shift gears, and he makes an interesting foil to Ian’s insecurity.

The supporting cast is equally as fun. Ranging from the Lightfoots’ overly-concerned mother, to the pacified Manticore with a warrior past, to even the police chief centaur, the creative team for Onward was clearly having fun melding fantasy with reality. Every character beat that needs paying off gets it, leaving room for the fantastical to run wild. And the side-plot involving the mother and the Manticore is equally as fun as Ian and Barley’s journey.

There’s also a theme of sibling rivalry that permeates the film. Despite being close, Ian tries distancing himself from his older brother, considering him an embarrassment. Barley, however, doesn’t feel embarrassed by Ian at all. The road trip to bring back their father’s top half brings out their conflict, reminding anyone with siblings how difficult it sometimes is to live with them, let-alone get along with them. As someone who was blessed with two brothers, I’ve seen that dynamic play out in different ways for nearly 30 years. So watching it come to life on the big-screen was cathartic.

Onward was directed by Dan Scanlon, who gave us Monsters, University in 2013. It’s clear that Scanlon’s fingerprints are all-over this movie, including scenes in this world’s version of school, but while Monsters, University was fine-yet-unnecessary (save one scene), Onward justifies its existence with its premise alone. It’s clear that Scanlon had a strong connection to this movie. He cared about this a lot, and while it could’ve stood for another pass at the script, I think he can make a masterpiece if given another shot at directing. He shows glimpses of that brilliance here.

That aside, the movie’s still really good. D-’n-D fanatics will get their share of enjoyment out of the different references, while casual fans will enjoy the fun and quirky nature of the world itself. But the underlying message about learning to let go of the dead will help this film gain traction in the long run. Because if you’ve ever lost someone close to you, this is your film. Speaking as someone who almost lost his dad to a heart attack 6 years ago, I say that from experience.

Is Onward perfect? No. Aside from not taking full-advantage of its premise, many of the jokes don’t resonate. The film also takes a while to establish itself, and its infamous scene with the lesbian police officer is as tone-deaf as everyone’s claimed. Finally, the closing shot leaves you wanting. But those are minor quibbles. The movie doesn’t drag, either.

And by the way, the short before the film is definitely one of the funniest pieces of media related to The Simpsons in a while.