drives you. Joe is assigned to Mentor 22 (Tina Fey), who has been stuck as a new soul for years with no desire to go to Earth, having broken previous mentors such as Mother Theresa, Gandhi, Abraham Lincoln, and Mohammed Ali.
With the help of Moonwind (Graham Norton), an astral traveler who sails about The Zone, a place between the spiritual and physical, in a tie-dye-sailed ship listening to Bob Dylan and helping lost souls find their way, 22 and Joe make it back to Earth, but not exactly in the way the Joe is hoping. I thought the film was going to take a Steve Martin/Lily Tomlin All of Me turn, but it doesn’t. Without spoiling, I’ll say Joe comes back in a way where he can still communicate with 22 but with no one else.
The movie has three distinct animation styles and looks defining the Great Beyond, the Great Before, and life on Earth. The Beyond is rendered in very contrasty black and white with just the color of the souls headed towards the ultra-bright light (a scene that reminded me of Carousel from Logan’s Run, whether intentional or not), whereas the Great Before is vibrant, filled with glowing blue, pink, and purple pastels and almost neon-tube drawings with things glowing bright around outlined edges and having a very ethereal look. Earth is hyper-realistic with a more muted, natural color scheme.
Image quality is fantastic and reference-quality throughout, with Soul being beautiful and just pleasing to look at. While the Great Before has colors that leap off the screen (especially when viewed in Dolby Vision), it is the scenes on Earth that really show off Pixar’s animation prowess, with fine micro-details visible in literally anything you choose to focus on. The texture, layering, and fading colors in street graffiti, the floor of the barbershop and look of Dez’s shoes, the distressing in iron railings, the sweat that appears on musicians’ faces after a long gig, the variety of people walking around the streets of New York, the micro-bits of fabric at the edges of Joe’s sweater, or the reflection off a glossy piano lid revealing the workings inside. Remembering that every . . . single . . . pixel of detail, every micro imperfection, every scratch and nick, every reflection, every subtle lighting effect, has been painstakingly created by deliberate artistic choice takes appreciation to the next level.
You can also really notice the choices the Pixar artists make in how they animate different things. While they’ve settled on the look of people, other items like buildings, backgrounds, and furniture get near-photo realistic detail. Other things like photos of jazz greats in a stairwell, or the stage at the club, land somewhere in between.
As mentioned, jazz music is a prominent, recurring theme throughout the film, and the Dolby Atmos audio does a great job presenting this, especially when Joe is really grooving and in-the-zone, where music swirls overhead and around the room. Voices in the Great Before are echoey, while the street sounds and cacophony of New York sound appropriately overwhelming. There are also plenty of nice subtle sonic moments throughout, such as the flatter, low-ceilinged sound of music in the Half Note, the clack of tracks aboard the subway, or the buzz overhead as Joe stands under a neon light. Most important, dialogue is always clear and perfectly intelligible.
Soul is a deep story that actually takes a bit of unpacking, and it looks so good you’ll likely want to revisit it more than once, where you’ll likely discover plenty of new things to appreciate—and possibly pause to try and pick out the Easter eggs scattered throughout. Finding out what things make a life, and learning to enjoy the simple pleasures and experiences life has to offer is the real heart of Soul, and this is another win for Pixar.