The Spotlight on Pixar Intensifies as ‘Elio’ Becomes Latest Original Animated Pic to Crash Land

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It’s astonishing that over eight years have gone by since Pixar released “Coco,” an enchanting, musically rich tale about a young Mexican boy venturing to the Land of the Dead, which earned almost $800 million worldwide and ranked 11th among the year’s top-grossing films. This happened in 2017, leading one to think that a significant drop in interest for original animated movies would be imminent shortly afterward.

The downturn reached a critical stage for Pixar with the premiere of the movie titled Elio during the June 20-22 weekend. This original summer blockbuster, which follows an orphan boy who finds his wish to be taken by aliens granted, opened to just $20.8 million in the U.S. and $14 million abroad. This is a significantly lower opening than any of Pixar’s previous films, a renowned animation studio established by the late Steve Jobs and later acquired by Disney.

Despite publicly maintaining an optimistic front, Disney executives acknowledge privately that Elio might struggle to regain its footing, much like Pixar’s first animated film Elemental did in 2023 before going on to earn close to half a billion dollars worldwide after a $29.6 million opening, unadjusted for inflation. Elio, however, has garnered excellent audience feedback and critically acclaimed reviews. Yet, there’s an understanding within the company that the film may not surpass $300 million in earnings.

It doesn’t imply that Disney and Pixar are giving up or relegating original storytelling to remote areas. On the contrary, as suggested by reports from The Hollywood Reporter, “Elio” seems to highlight a shift in direction that was already taking place.

Pixar is intentionally shifting towards a blend of sequels and brand-new ideas to create a more equal mix. Leaders at Disney, including Alan Bergman from the movie studios, endorse this strategic approach to franchise productions, believing it will sustain original storytelling in the long run. They don’t consider fresh ideas as standalone projects, but as potential series. “Inside Out” and “Coco” are just a couple of examples of franchises that started off as originals.

In June 2024, the sensational “Inside Out 2” premiered and raked in an astounding $154 million, ultimately becoming the highest-earning film of the year, the most profitable Pixar production, and the top-grossing animated movie ever with over $1.69 billion in global box office revenue (unadjusted for inflation). Simultaneously, “Coco” gave birth to a park attraction, with a sequel in development.

Elio” was the sixth original Pixar movie to be released since 2020, following “Onward”, “Soul”, “Luca”, “Turning Red”, and “Elemental”.

Pixar’s future lineup includes two new movies: “Hoppers” in 2026 and “Toy Story 5,” as well as the original film “Gatto” in June 2027. You’ll also see “Incredibles 3,” “Coco 2,” and an untitled movie, “Lightyear,” which is a prequel. Interestingly, only 9 out of Pixar’s total 30 theatrical releases have been sequels or follow-ups, with “Lightyear” being the exception. So, despite its reputation, Pixar isn’t churning out sequels excessively – even at its own risk.

Pixar has traditionally been cautious about expanding franchises. For instance, while Toy Story 2 was their third film, they waited over a decade before releasing Toy Story 3, and five years for Cars 2. The time gap between the original Finding Nemo and its sequel, Finding Dory, was a full dozen years. In 2016, Pixar’s president, Jim Morris, mentioned that after Toy Story 4 in 2018 and Incredibles 2 in 2019 (both of which grossed over $1 billion worldwide), the studio would revert to its original style, excluding Inside Out 2. As he stated, they were serious about this change.

Disney Animation Studios, known for hits like Frozen and Moana, continues to strike a balance by releasing four new, original films in the last few years even during challenging times. These include Encanto, Raya and the Last Dragon, Strange World, and Wish.

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Amidst the ups and downs, Disney Animation Studios responsible for Frozen and Moana series, has managed to produce and release four original movies in recent years: Encanto, Raya and the Last Dragon, Strange World, and Wish.

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In spite of a downturn, Walt Disney Animation Studios, famous for creating Frozen and Moana, released four fresh, self-produced films: Encanto, Raya and the Last Dragon, Strange World, and Wish over the last few years.

As a devoted animation enthusiast, it’s clear that Universal’s powerhouses, Illumination Entertainment and DreamWorks Animation, have a penchant for franchise-building. A third of Illumination’s output is part of the blockbuster Despicable Me and Minions universe, and they’ve swiftly transformed titles like Sing and The Secret Life of Pets into franchises. They’re also venturing into the Dr. Seuss world, with plans for a Mario series in the works. DreamWorks Animation, founded by Jeffrey Katzenberg, has thrived on a diet rich in Shrek, How to Train Your Dragon, and Kung Fu Panda.

In the midst of the pandemic years, even as cinemas reopened, the leadership under then-Disney CEO Bob Chapek opted to release three Pixar films directly on Disney+ domestically – “Turning Red”, “Luca”, and the Academy Award-winning “Soul”. This move sparked controversy, with critics arguing it was training families to wait for younger-oriented family movies at home. This debate still rages today, especially when it comes to new releases like “Elio”. They may have been onto something. In the post-pandemic era, only three animated original films from any Hollywood studio have grossed over $20 million domestically; “Elio”, 2021’s “Encanto” ($27.1 million), and 2023’s “Elemental”, all from the Disney empire. As a fan, I can see why they made that call.

It’s important to note that PG-rated films haven’t failed in their success, quite the contrary, they’ve played a significant role in the post-COVID recovery. However, most of these successful movies fall into one of two categories: live-action adaptations of previously animated films like Disney’s 2025 summer hit Lilo & Stitch and Universal’s How to Train Your Dragon, or live-action properties stemming from established intellectual properties such as Warner Bros.’ A Minecraft Movie, currently the highest-grossing film of 2025 with over $954 million in box office sales. Other examples include the animated video game adaptation The Super Mario Bros. Mario Movie which earned an astounding $1.36 billion in 2023, and last year’s top global grossers were led by Inside Out 2, with Moana 2 coming in third place at $1.05 billion, followed closely by Illumination’s Despicable Me 4 ($959 million).

Remakes of beloved animated movies like “Dragon” and “Lilo” cater to both families and younger generations, primarily due to their nostalgic appeal. However, “Elio” didn’t have this advantage and seems to struggle with connecting to a broader audience. This could be because it appeals too strongly to young children and is often seen as purely a children’s movie, which contradicts the Pixar brand image, according to industry analysts. Regardless, it was overshadowed by “How to Train Your Dragon” and “Lilo & Stitch,” which have now grossed over $900 million at the global box office (their merchandise sales are in the billions).

Intriguingly, after the pandemic, PG-rated films have been leading at the box office. However, having a PG rating doesn’t automatically ensure a blockbuster opening weekend unless the movie is based on a popular intellectual property (IP) or is part of an established franchise like Minecraft. To maintain its success in the upcoming weeks, the film Elio will likely depend on strong word-of-mouth and excellent reviews on Rotten Tomatoes.

According to a source near the movie, “Although its initial box office figures don’t match its grand ambitions, this film serves as a testament to the type of innovative storytelling that the studio continues to champion, and which the industry desperately requires. As Pixar evolves, it’s not about discarding originality; rather, it’s about finding new ways to introduce it successfully while maintaining familiar faces close by. Ultimately, the objective remains constant: to create narratives that strike a chord with audiences of all ages.

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2025-06-24 22:25