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Director: Lee Unkrich
Release date: October 20, 2017
Rating: ★★★★★ ♕
Review:

The 2010s were a disappointing decade for the Pixar studio: the studio largely lost its role as game changer, spitting out a lot of sequels and meagre films that couldn’t stand the comparison with their great movies of the 2000s. Yet, three of their films shone far brighter than the others and showed that the studio still had it: ‘Toy Story 3‘ from 2010, ‘Inside Out’ from 2015, and ‘Coco’ from 2017.

With ‘Coco’ the studio followed a recent Disney trend to give American minorities their own animated movie. After Afro-Americans (‘The Princess and the Frog’, 2009) and Polynesians (‘Moana’, 2016), ‘Coco’ stars Mexicans only, taking place in Mexico, and focusing on the typically Mexican holiday ‘Día de muertos’, the Mexican variant on All Souls’ Day and All Saints’ Day (1 and 2 November).

Now ‘Coco’ wasn’t the first animated feature film around Día de Muertos, which was 20th Century Fox’s ‘The Book of Life’ (2014), and like the former film ‘Coco’ takes partly place in the land of the dead. But there the comparison stops, and while ‘The Book of Life’ boasts more daring design choices, ‘Coco’ is by far the better film in terms of animation, art direction, background art and storytelling.

Moreover, the animated depiction of the dead as vivid skeletons is even older, as they also appear in ‘Corpse Bride’ (2005) and in the charming stop motion shorts ‘Hasta los huesos’ (René Castillo, 2001) and ‘Día de los muertos’ (Kirk Kelley, 2002). One can safely say, both Mexico’s idiosyncratic holiday and the depiction of the afterlife are of a particular interest to film makers. Let’s not venture into earlier depictions of the afterlife, in cinema or otherwise, although I have to say the concept of the afterlife in Coco has much in common with that of Kevin Brockmeier’s novel ‘The Brief History of the Dead’ from 2006: in both afterworlds one only really dies when he’s not remembered.

‘Coco’ tells about young boy Miguel, who aspires to be a musician, but who grows up in a family of shoemakers in which music is banned. When on ‘Día de muertos’ Miguel steals a guitar from the grave of his idol Ernesto de la Cruz he gets into much more trouble than he had bargained for…

Why the film is called ‘Coco’ instead of ‘Miguel’ only becomes clear at the very end of the film, in a scene that forms the emotional highlight of the movie, and is one of the most moving scenes in animation, overall.

But from the beginning ‘Coco’ evokes wonder. Even the background story is told superbly, with the help of garlands depicting the life of Miguel’s ancestors in attractive 2D animation. Miguel’s own world, too, is of unsurpassed richness. His family house, his village, the graveyard – all are complex and elaborate sets, depicted in the richest detail, which render them instantly believable. But nothing prepares the viewer for the jaw dropping depiction of the netherworld – which is more colorful and more fantastic than anything depicted on the animated screen before. The color designs are superb throughout anyway, with a strong focus on orange. The lighting, too, never ceases to amaze – there’s a beautiful golden glaze in the evening scenes. And yet, the graveyard scenes are even more awe inspiring, with their complex lighting by numerous flickering candles.

But all this would be in vain if the film’s story wasn’t good, as well. But ‘Coco’ can boast a story that is as entertaining as it is emotional. The story is rich and surprising and knows no dead moment at all. Sure, there are a few obligate scenes (like the breakup scene – omnipresent in American feature animation), but for once they do work. For example, the tiring family message, an obligatory Disney feature, is more interesting than usual, because Miguel’s family is actually hindering him in his dreams, and he can only reconcile with them after his family members have changed, too. The only complaints I have is that Miguel runs all too easily into his former ancestor, not only once, but twice. This is a coincidence too good to be true, and one hard to swallow. Moreover, it’s a quite unclear how the gentle romantic Hector changed into the opportunistic bum he apparently became in the afterworld.

The film boasts some great humor, too, for example Miguel runs into a skeleton nude, and there’s a great scene involving the deceased Frida Kahlo. Much of the humor comes from Hector’s antics, and of a street dog called Dante, which mysteriously follows Miguel into the afterlife (the Blu-Ray reveals that Dante is a so-called Xoloitzcuintle, a dog race traditionally guiding the dead to the Aztec underworld – when one sees the real thing one is amazed how well Dante resembles his real-life counterparts).
Less successful, especially in a film about the power of music, are the songs, with Miguel’s finale song being particularly annoying. But even the song ‘Remember me’, which takes a very important place in the story, is not half the classic song it supposed to be. That it’s sung in English instead of Spanish is a missed opportunity and contributes to the feeling of a deluded version of the real Ranchera thing.

Nevertheless, this is nit-picking, and these minor flaws hardly hamper a film, which is of a most magical nature. ‘Coco’ takes full advantage of the power of animation, and never ceases to amaze. The film is not only one of Pixar’s best films of the 2010s, but it should also be included into the studio’s all-time best list, as well as being one of the best films of the 2010s by any studio.

Watch the trailer for ‘Coco’ yourself and tell me what you think:

‘Coco’ is available on Blu-Ray and DVD