Soul (2020)

O’Sullivan finds the film unusually bold and nourishing, placing it in a league above Pixar’s other 2020 release. She especially praises its daring integration of jazz and the experience of musical immersion.

Harley praises the film as deeply witty and emotionally affecting, calling it peak Pixar. He singles out its layered world-building, jazz score, and delicate emotional finale.

Aftab calls the film one of Pixar’s very best, despite finding its ending more predictable than its early inventiveness suggests. He praises how its surreal humor and socially conscious story treat Joe’s Black identity as central to his humanity.

Felperin calls the film peak Pixar and places it among the studio’s finest, while noting some possible shortcomings in its theology and treatment of jazz as a stand-in for Black experience. She especially praises the animation’s integration of music with color and shape, along with the jazz soundtrack and lighting.

The critic finds the film a sparkling, emotionally moving success despite its familiar body-swap device. They single out the story’s exploration of 22’s struggle to feel passion as especially profound.

Debruge praises the film as a dazzling, big-hearted meditation on life and purpose. He especially singles out its jazz music, which beautifully blends with Pixar’s animation and metaphysical world.

Strong calls the film Pixar’s best original work in years and a welcome return to form. She praises its animation, score and Jamie Foxx’s voice work, while criticizing how often its Black lead becomes a blue blob or a cat.

The review calls the film one of Pixar’s best in years. It singles out the studio’s original ideas as the reason for its success.

Ide’s standfirst gives the film a positive verdict, saying it does not disappoint. She singles out Pixar’s stunning animation for praise.

Bradshaw finds the film bewildering but charming, sweet and deeply moving. He singles out its final visual montage, which turns an image of nighttime New York into a powerful emotional epiphany.

Godfrey finds Soul a rewarding, tender existential trip, though its big ideas do not fully cohere and its emotional journey feels slight. He praises the richly realized animation and especially its exquisite lighting and visual detail.

Chang finds the film lovely but imperfect, with its familiar buddy-comedy formula keeping its metaphysical ambitions from fully taking flight. He praises its careful musical detail and its warm, richly imagined portrait of New York life.

Scott gives the film a favorable verdict, while noting that its many ideas can make it feel overstuffed. He praises its heart and its thoughtful exploration of life’s meaning.

Rubins finds the film uneven, praising its sublime tribute to jazz while criticizing its muddled afterlife mythology. He also faults the central friendship and says the film asks too much of young viewers.

The review calls the film a half-triumph, praising its celebration of Black lives and culture. It says the jazzy odyssey gets lost in its own intricacy.

Willmore finds the film bold and visually striking, but easier to admire than to feel deeply invested in. She singles out its warm, richly detailed real-world imagery and a late montage that becomes quietly devastating.

Serpell argues that the film’s handling of race and Black culture undermines its well-meaning message about finding meaning in everyday life. She praises the authenticity of some scenes of Black life, especially the barbershop and Joe’s mother’s workplace, while criticizing the film’s racialized humor and its use of a white character to teach Joe a lesson.

Crow gives Soul a highly enthusiastic review, finding its existential ideas moving and accessible despite some imperfections. He especially praises the imaginative visual world and the film’s ability to convey the joy of living.

The critic calls Soul an outstanding, thoughtful family film whose ambition puts it near Pixar’s highest achievements. They especially praise its striking visuals and the way it explores weighty ideas accessibly, while noting a few conventional stretches slow its momentum.

Goldberg calls Soul a mature, emotionally powerful meditation on what makes life meaningful. He especially praises the striking visuals of the soul world and the score blending Trent Reznor and Atticus Ross with Jon Batiste’s jazz.

Robinson calls Soul a triumphant return to Pixar’s most ambitious storytelling, praising its humanity and life-affirming outlook. She particularly singles out the film’s inventive visual world and its quiet, emotionally resonant moments.

Bui finds the ambitious film compelling and soulful, though its many ideas nearly make it feel overcrowded. She praises its beautiful animation and the emotional heart that anchors its existential, shape-shifting story.

Utichi finds Soul an ambitious, emotionally rich return to Pixar’s inventive best, though its Earthbound slapstick sometimes dulls its larger ideas. He especially praises the abstract Great Before sequences and the film’s distinctive visual and musical craft.

Oller finds the film playful, moving, and visually dazzling, with an ultimately resonant message about valuing everyday life. He especially praises its animation and a montage of mundane pleasures, while criticizing the body-swap storyline.

The critic finds Soul ambitious and emotionally powerful despite messy plotting and tonal imbalance. They especially praise its rich animation, contrasting visual styles, and expressive voice performances.

The review finds Soul uplifting and visually groundbreaking, though somewhat formulaic. It particularly praises the imaginative animation depicting the realms beyond human existence.

The review finds Soul profound and inventive, though it falls short of Pete Docter’s earlier Pixar films. It praises the imaginative world-building, visuals and score, while criticizing the story’s less cohesive second act.

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The critic finds the film imaginative and enjoyable, but ultimately less satisfying than its ambitions promise. They praise its colorful animation and fine music, while noting that the plot’s complexity and unresolved ideas weaken the ending.

Wilkinson finds the film ambitious and often lovely, but ultimately overcomplicated and disjointed. She singles out the luminous New York animation for praise, while criticizing the fragmented narrative and jokes that may not travel well.