‘Elio’ Review: Pixar’s Sweet, Safe Space Adventure Isn’t Exactly Out of This World

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In the animated film “Elio” by Pixar, the title character, voiced by Yonas Kibreab, dreams of being taken by aliens, and soon finds himself experiencing various extraordinary alien landscapes instead.

The Communiverse, a sprawling, ethereal intergalactic gathering place for the galaxy’s most advanced and vibrant beings, teems with extraterrestrials of every conceivable form, hue, texture, and means of expression (some emit spheres instead of spoken words). They possess extraordinary technologies such as a “liquid supercomputer,” essentially an omnipotent virtual assistant on steroids, a device capable of producing copies, and a Universal User’s Manual that deciphers the essence of existence. For Elio, space represents everything Earth lacks in cold, monotonous tones, making it difficult for him to consider going back home.

In simpler terms, “Elio” feels a bit too ordinary or predictable compared to what one might expect from an alien world. Directed by Adrian Molina, Madeline Sharafian, and Domee Shi, “Elio” is a pleasant children’s sci-fi adventure that delivers as expected. However, it falls short of the immersive, transportive experiences that Pixar was once known for.

The screenplay authored by Julia Cho, Mark Hammer, and Mike Jones follows Elio, a young boy recently left an orphan, as he grapples with his new existence under his aunt Olga (portrayed by Zoe Saldaña). Olga, a military officer, is also finding it challenging to adapt to her unexpected parental role. Isolated and lost, Elio develops an intriguing notion: if no one on Earth seems to accept him, perhaps someone from one of the universe’s 500 million other planets might – and it appears his theory may be correct when the Communiverse, having discovered humanity through the Voyager Golden Record, transports him.

At first, Elio attempts to blend in, pretending to be the ruler of Earth with the intention of securing permanent residency. However, it’s through Glorp (character played by Remy Edgerly), a fellow gentle soul who is often misconstrued but shares similar background as the son of a ruthless warlord, Grigon (played by Brad Garrett), that Elio finds the genuine bond he seeks. This bond is formed over youthful antics such as consuming excessive amounts of brightly colored, exotic drinks with silly straws and careening through Communiverse waterways as if they were water slides.

Could their blossoming camaraderie significantly improve both their lives, instilling a sense of self-assurance and alleviating feelings of isolation in the cosmos? Might their unified efforts thwart Glorp’s father from devastating the Communiverse? Will Elio ultimately grasp the genuine, though flawed, affection that Olga has been extending to him from Earth, despite his space adventures? While it would be spoiling, you can likely infer the answer.

There’s a lot to appreciate about Elio. The most striking scenes feature the Voyager on its voyage, appearing minuscule and isolated amidst the inconceivable immensity of space – and they appear even more captivating in 3D, as the emptiness seems to extend infinitely around you.

The stark emptiness of the universe seems to diminish the chaos of the Cosmos somewhat, as it teems with peculiar yet forgettable creatures reminiscent of those seen in Ant-Man and the Wasp: Quantumania. However, among these beings, Glorp stands out as the most significant alien, crafted with a level of affection that’s evident. Much like Pixar’s best characters, he is a testament to detail, his slug-like form transformed into something leathery, scaly, and furry simultaneously, complete with feathery tendrils that tremble cutely when he’s content.

One intriguing aspect of this film is its bold incorporation of horror elements, yet it manages to avoid becoming too frightening for a family audience. The creature Glorp, for instance, has teeth reminiscent of an alien’s (xenomorph), but instead of using them for harm, he uses them to smile. Additionally, he wraps his guests in silk resembling spider webs, not to trap them, but to comfort them. Moreover, while the cloning machine produces copies that are unnaturally friendly, they are also overly helpful, which is endearing rather than frightening.

If Elio’s storyline is predictable, it still manages to fulfill all expectations in an engaging 100 minutes. You’ll find yourself laughing at Elio’s humorous attempts to be kidnapped by deliberately positioning himself near a large “Abduct me!” message written in the sand, and feeling empathetic towards his confession to Glorp that he worries there’s nothing special about him. You might even get tearful during the reconciliations and farewell scenes that feel inevitable, and grin at a post-credits scene showing the characters happily living their lives.

In my experience, I didn’t stumble upon profound revelations or intense emotional outbursts, nor was I taken aback by ingenious plot twists in this place. Elio is too predictable for that, following a conventional path. The characters are appealing yet shallow, oversimplified due to a narrative prioritizing progress over nuanced growth; their relationships are similarly unclear. Even the satisfying conclusion feels more like a conformity to convention than a decision that aligns with their character arcs. It doesn’t diminish the film’s charm, but it does make its impact feel less significant.

What Elio yearns for, amidst his daring journeys through space, is simply the assurance that he isn’t the only one, that there are beings similar to him and those who might appreciate him. Sadly, Elio seems to share this sentiment.

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2025-06-17 19:26