coco 2017 movie review

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"Coco" is the sprightly story of a young boy who wants to be a musician and somehow finds himself communing with talking skeletons in the land of the dead. Directed by Lee Unkrich (" Toy Story 3 ") and veteran Pixar animator Adrian Molina , and drawing heavily on Mexican folklore and traditional designs, it has catchy music, a complex but comprehensible plot, and bits of domestic comedy and media satire. Most of the time the movie is a knockabout slapstick comedy with a " Back to the Future " feeling, staging grand action sequences and feeding audiences new plot information every few minutes, but of course, being a Pixar film, "Coco" is also building toward emotionally overwhelming moments, so stealthily that you may be surprised to find yourself wiping away a tear even though the studio has been using the sneak-attack playbook for decades.

The film's hero, twelve-year old Miguel Riviera (voice by Anthony Gonzalez ), lives in the small town of Santa Cecilia. He’s a goodhearted child who loves to play guitar and idolizes the greatest popular singer-songwriter of the 1920s and '30s, Ernesto de la Cruz ( Benjamin Bratt ), who was killed when a huge church bell fell on his head. But Miguel has to busk in secret because his family has banned its members from performing music ever since Miguel's great-great-grandfather left, abandoning his loved ones to selfishly pursue his dreams of stardom. At least that’s the official story passed down through the generations; it’ll be challenged as the film unfolds, not through a traditional detective story (although there’s a mystery element to “Coco”) but through an “ Alice in Wonderland ” journey to the Land of the Dead, which the hero accesses through the tomb of his ancestors. 

Family and legacy as expressed through storytelling and song: this is the deeper preoccupation of “Coco.” One of the most fascinating things about the movie is the way it builds its plot around members of Miguel’s family, living and dead, as they battle to determine the official narrative of Miguel’s great-great grandfather and what his disappearance from the narrative meant for the extended clan. The title character is the hero’s great-grandmother (Renee Victor), who was traumatized by her dad’s disappearance. In her old age, she has become a nearly silent presence, sitting in the corner and staring blankly ahead, as if hypnotized by a sweet, old film perpetually unreeling in her mind.

The machinations that get Miguel to the other side are too complicated to explain in a review, though they’re comprehensible as you watch the movie. Suffice to say that Miguel gets there, teams up with a melancholy goofball named Hector ( Gael Garcia Bernal), and has to pose as one of the dead with the aid of skeletal facepaint, but that (like Marty McFly returning to the 1950s to make sure his mom ends up with his dad in “Future”) the longer Miguel stays on the other side, the more likely he is to end up actually dead.

I’m reluctant to describe the film’s plot in too much detail because, even though every twist seems obvious in retrospect, Molina and Matthew Aldrich ’s script frames each one so that seems delightful and inevitable. Many of them are conveyed through a stolen family photograph that Miguel brings with him to the Land of the Dead. The deployment of the photo is a great example of how to tell a story through pictures, or more accurately, with a picture . Somebody’s face has been torn out; there’s a guitar that proves to be important later, and there are other ways in which visual information has been withheld from Miguel (and us) so that it can be revealed or restored when the time is right, completing and correcting an incomplete or distorted picture, and "picture.”

What’s freshest, though, is the tone and outlook of the film. “Coco” opened in Mexico a month before it opened in the USA and is already the highest grossing film of all time there. It assumes a non-American point-of-view on spirituality and culture—not in a touristy or “thought experiment” sort of way, but as if it were merely the latest product of an alternate universe Pixar Mexicano that has existed for just as long as the other one. The film’s stable of voice actors reads like a Who’s Who of Latin-American talent: the ensemble includes Edward James Olmos , Alfonso Arau , Ana Ofelia Murguia, Alanna Ubach and, in a small role, to my surprise and astonishment, playwright Octavio Solis , who was one of my teachers in high school back in Dallas. Michael Giacchino's score is unsurprisingly excellent, as are the original songs—in particular, the future Oscar winner " Remember Me ," the greatest tear-eruption mechanism to accompany a Pixar release since the " Toy Story 2 " centerpiece "When She Loved Me."

Like most Pixar productions, this one is filled with homages to film history in general and animation history in particular. I was especially fond of the references to the dancing skeletons that seemed to pop up constantly in cartoon shorts from the 1930s. There’s a touch of Japanese master Hayao Miyazaki in the film’s matter-of-fact depiction of the dead interacting with the living, as well as its portrayal of certain creatures, such as a goofy, goggle-eyed dog named Dante (modeled on Xoloitzcuintli, the national dog of Mexico) and a gigantic flying dragon-type beast with the personality of a plump old housecat.

Also notable are the film's widescreen compositions, which put lots of characters in the same frame and shoot them from the waist up or from head-to-toe, in the manner of old musicals, or Hollywood comedies from the eighties like "9 to 5" or " Tootsie ." The direction lets you appreciate how the characters interact with each other and with their environments and lets you decide what to look at. At first this approach seems counter-intuitive for a movie filled with fantastic creatures, structures and situations, but it ends up being effective for that very reason: it makes you feel as though you're seeing a record of things that are actually happening, and it makes "Coco" feel gentle and unassuming even though it's a big, brash, loud film.

I had some minor quibbles about “Coco” while I was watching it, but I can’t remember what they were. This film is a classic.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Film credits.

Coco (2017)

Rated PG for thematic elements.

109 minutes

Anthony Gonzalez as Miguel (voice)

Gael García Bernal as Hector (voice)

Benjamin Bratt as Ernesto de la Cruz (voice)

Renée Victor as Abuelita (voice)

Ana Ofelia Murguía as Mama Coco (voice)

Alanna Ubach as Mama Imelda (voice)

Edward James Olmos as Chicharron (voice)

Gabriel Iglesias as Head Clerk (voice)

Cheech Marin as Corrections Officer (voice)

Alfonso Aráu as Papa Julio (voice)

• Lee Unkrich

Co-Director

• Adrian Molina

Writer (original story by)

• Matthew Aldrich

Cinematographer

• Matt Aspbury
• Danielle Feinberg
• Steve Bloom
• Michael Giacchino

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Review: ‘Coco’ Brings the Pixar Touch to Death

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By A.O. Scott

• Nov. 21, 2017

One of the pleasures of a new Pixar feature is the chance to be amazed by what animation can do. Sometimes you witness a big, bold breakthrough, like the computer-assisted rendering of fur in “Monsters, Inc.,” of water in “Finding Nemo,” or of metal in “Cars.” The innovations in “Coco” are no less satisfying for being of a more subtle kind. The grain of leather and the rusted folds of corrugated metal have a rough, almost tactile quality. Human bones, hairless dogs and orange flower petals look uncannily (but not too uncannily) real. There are moments of cinematic rigor — when the animators mimic the movements and focal effects of an old-fashioned camera in actual physical space — that will warm any film-geek’s heart. Not to mention the Frida Kahlo-inspired musical number with dancing papaya seeds.

“Coco” is also one of those Pixar movies that attempt a conceptual breakthrough, an application of the bright colors and open emotionalism of modern, mainstream animation to an unlikely zone of experience. From the very start, the studio has explored the inner lives of inanimate objects like lamps and toys with a tenderness we now take for granted. It has also summoned the post-human future ( “Wall-E” ) and the human unconscious ( “Inside/Out” ) with breathtaking ingenuity. And now it has set out to make a family-friendly cartoon about death.

Don’t let that scare you or your children away. There is a murder (revealed in the third act) and a fatal church-bell-related accident (witnessed in the first), but the afterlife in “Coco” is a warm and hectic place, more comical than creepy. The story takes place during the Day of the Dead, when according to Mexican tradition (at least as interpreted by Lee Unkrich and Adrian Molina, who directed the screenplay written by Mr. Molina and Matthew Aldrich), the border controls between life and death relax and the departed are allowed temporary passage to the land of the living. A young boy named Miguel (voiced by Anthony Gonzalez) makes the trip in reverse, which is not to say that he dies, but rather that his living self, through one of several metaphysical loopholes that the movie explains as it goes along, is transported into a fantastical world of specters and skeletons, who hold fabulous parties and raucous outdoor concerts.

Nearly as enchanting as that magical realm is the Mexican village of Santa Cecilia, Miguel’s hometown, where he is part of a prosperous clan of shoemakers. The cultural vibe of “Coco” is inclusive rather than exoticizing, pre-empting inevitable concerns about authenticity and appropriation with the mixture of charm and sensitivity that has become something of a 21st-century Disney hallmark. Here, the importance of family — the multigenerational household that sustains and constrains the hero — is both specific and universal. It’s what explains the particular beats of Miguel’s story and what connects him to viewers regardless of background.

He shows a certain kinship with other well-known recent cartoon characters. A gifted musician in a family that forbids music, he is a bit like Remy, the “Ratatouille” rat whose kin were hostile to his artistic ambition, and like Mumble, the misfit penguin in “Happy Feet.” Miguel’s genealogical quest — a search for roots, lost ancestors and information that might explain who he is — resembles Dory’s journey in “Finding Dory.” The sidekicks who accompany him, animal and (formerly) human, are drawn from a familiar well of archetypes, and the final round of lesson-learning and reconciliation hits notes we have heard many times before.

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But if “Coco” doesn’t quite reach the highest level of Pixar masterpieces, it plays a time-tested tune with captivating originality and flair, and with roving, playful pop-culture erudition. Miguel’s musical role model — and the source of the family embargo on musical expression — is a long-dead crooner and movie star named Ernesto de la Cruz (Benjamin Bratt). In life and in death, he incarnates venerable ideals of romance and wounded machismo, or at least their show-business incarnations. (His greatest hits and movie clips form part of the texture of “Coco,” the way the old “Woody’s Roundup” show did in the “Toy Story” movies.)

The purer embodiment of that tradition is Héctor (Gael García Bernal), a ragged, forgotten ghost who befriends Miguel. What links Héctor with de la Cruz is a lurid story of passion, betrayal and longing. Their lives and deaths are a ballad whose meaning and melody Miguel must learn. In doing so, he will understand the thread that links him to both of them, and also the sources of the anti-musical animus that runs so strongly in his maternal line.

Coco is the name of Miguel’s great-grandmother, who turns out to be the heart of the story. Her mother, Imelda (Alanna Noël Ubach), is a furious matriarch on the other side of the grave, while Coco’s daughter, Miguel’s Abuelita (Renée Victor), is a no-nonsense flesh-and-blood autocrat. Their determination to silence Miguel’s guitar arises from heartbreak, and from the instrument’s association with the waywardness of men.

“Coco” avoids the darker tones associated with this theme, in the way that old murder ballads are sometimes reconceived as children’s songs. It’s reassuring rather than haunting, which is a shrewd and successful commercial compromise, but a compromise all the same.

Coco Rated PG. La Muerte. Running time: 1 hour 49 minutes.

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Screen Rant

Coco review: pixar's gorgeous celebration of family & music.

Coco is a heartwarming story about family and a well-crafted coming of age tale steeped beautifully in the traditions of Mexico's Día de los Muertos.

Coco is a heartwarming story about family and a well-crafted coming of age tale steeped beautifully in the traditions of Mexico's Dia de los Muertos.

Pixar's latest offering, Coco , is the animation studio's second premiere of 2017, following Cars 3  this summer, and the first original, non-sequel since The Good Dinosaur in 2015. Pixar has made a name for itself over the last two decades as an animation house that infuses compelling concepts with a great deal of heart in order to entertain audiences young and old. Though there's been a debate about whether Pixar should focus more on original ideas over sequels to their beloved films, Coco is proof the Disney-owned animation studio can still come up with new concepts with as much magic and heart as their first string of hits.  Coco is a heartwarming story about family and a well-crafted coming of age tale steeped beautifully in the traditions of Mexico's Día de los Muertos.

Coco tells the story of young Miguel (Anthony Gonzalez), who is descended from a family of shoemakers - but who has no desire to join the family business. Instead, Miguel dreams of becoming a musician and following in the footsteps of his idol, the greatest musician to ever live, Ernesto de la Cruz (Benjamin Bratt). However, there's one major factor preventing Miguel from going after his dreams: his family's decades-long ban on music that has been passed down through the generations. As the story goes, Miguel's great great grandfather was a musician who abandoned his family to follow his dreams, leaving Mamá Imelda (Alanna Ubach) to raise Miguel's great grandmother, Mamá Coco (Ana Ofelia Murguía), on her own.

When Miguel's family discover he's been idolizing the music of Ernesto de la Cruz and teaching himself how to play guitar in secret, they forbid him from pursuing a career as a musician. In order to prove he can follow in the footsteps of Ernesto, Miguel steals the famed musician's guitar on Día de los Muertos and accidentally transports himself to the Land of the Dead. Though Miguel meets his deceased ancestors, they also don't understand Miguel's love of music, and he sets out in search of Ernesto with the help of charming con man Hector (Gael García Bernal), who needs Miguel's help in order to visit the Land of the Living. However, Miguel must find a way home before the sun rises, marking the end of Día de los Muertos, or else he'll be trapped in the Land of the Dead forever.

For Coco , Pixar assembled a team that are well versed in the animation studio's offerings - and it shows insofar as the film presents the best of what the studio is known for, while offering a completely new and compelling adventure. The movie was directed by Pixar veteran Lee Unkrich ( Toy Story 3 ), and co-directed by Adrian Molina ( The Good Dinosaur ); the latter co-wrote the script with Matthew Aldrich ( Cleaner ), based on a story by Unkrich, Molina, Aldrich, and Jason Katz ( Toy Story Toons: Hawaiian Vacation ). Unkrich reteamed with Toy Story 3 producer Darla K. Anderson, while fellow Pixar vet Michael Giacchino ( Inside Out, Jurassic World ) served as composer. Music is, of course, an integral aspect of the film, so Gonzalez and Bratt lend their voices to a number of catchy and fun songs in Coco - though it's not quite a musical in the vein of Disney's typical animated offerings.

The story of Coco is a rather typical hero's journey/coming of age tale, with Miguel going on a grand adventure in the Land of the Dead and learning an important lesson about both himself and his family along the way. Miguel's motivation throughout the movie - wanting to follow his dream, but not feeling understood by his family - provides for an exceptionally universal jumping off point, and acts as the anchor around which the entire film's emotional arc revolves. Even so, there are plenty of twists and turns throughout the movie that prevent the story from feeling stale; in that way, Coco somewhat resembles a telenovela, with a big third act twist that completely upends the status quo of the movie. Still, this twist only helps to further develop the main theme of the movie, which is the identity of self vs the identity of family.

Still, while the story of Coco is a major strength, it's heightened and contrasted by the colorful backdrop of the Land of the Dead. The expansive world is beautifully animated - from the wide shots of the Land as Miguel enters, to each setting as he journeys through the world's various neighborhoods. As varied as as any real world city, and populated by skeletons resembling calaveras as well as neon-colored spirit guides, the Land of the Dead in Coco is absolutely eye-catching and a wondrous thing to behold, brought to life superbly by the animators at Pixar. Further, the mythology of the world is well established so that viewers with all ranges of knowledge about Día de los Muertos and Mexican culture can understand the rules of this afterlife.

Beyond the Land of the Dead, Coco  brings Miguel's home and family to life with bright, vibrant colors in the Land of the Living as well. On the whole, Coco utilizes Pixar's typical 3D CGI animation style to craft a rich world full of depth - both for the living characters and those who are dead. Additionally, Miguel and his entire family are brought to life with varying levels of development. Because the family is so large, Coco mainly focuses on Miguel and his great great grandparents, since the ancestors started the rift in the family that's felt by Miguel in present day. Still, the story provides little details about Miguel's various family members to give them some characterization and offer more depth to the characters than viewers may expect. The result is a story full of heart and drama following characters that the audience can't help but love like their own family.

All in all, Coco is a fantastic addition to the Pixar library with all the heart and emotion of the animation studio's best offerings, as well as visuals that surpass even the company's most eye-catching films. Its story is heartwarming and universal, and richly textured thanks to its roots in Mexican culture. Though some elements of Coco are a bit dark for very young children, Pixar's latest is perhaps the perfect holiday film for families - and it will no doubt be entertaining for Pixar fans of any age. Additionally, with the exceptional visuals, Coco may be worth a 3D or IMAX viewing. Altogether, Coco has all the makings of another Pixar classic, proving the animation studio's original ideas are just as strong as they ever were.

Coco  is now playing in U.S. theaters nationwide. It runs 109 minutes and is rated PG for thematic elements.

Let us know what you thought of the film in the comments!

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Coco Reviews

It is an incredibly resonant, emotive work, even if its story feels a little cobbled together from past Pixar films.

Full Review | Mar 1, 2024

Coco is a story full of emotion and deep entertainment. The proposal emphasizes the importance of traditions and family, but stripping them of their mandates to offer their members listening and understanding.

Full Review | Original Score: 9/10 | Dec 28, 2023

A dance of layered visuals and eye-popping patterns, Coco is well balanced with the understated...

Full Review | Dec 14, 2023

Coco is an incredible film, that moves me emotionally more with each viewing. The story, the animation style, the colors, the look at family, and the wonderful music never fails to make me cry.

Full Review | Apr 26, 2023

A fine addition to the Pixar legacy… a very sweet film about family, very thoughtfully put together. It has that unmistakable mixture of comedy and sentiment that you associate with a Pixar movie. Great fun.

Full Review | Original Score: 4/5 | May 27, 2022

Coco is a film that reminds us of the effect and importance of mise-en-scène, even when it has been assembled by animators and computers.   

Full Review | Original Score: 4/4 | Mar 17, 2022

The film falls in line with some of Pixars best films and is an absolute must watch for any fan of film especially the Latino community. Coco gives the community more reason to be proud to be Latino.

Full Review | Original Score: 4/4 | Feb 18, 2022

It's a feast for the eyes, the cast is pitch perfect, and the music is wonderful.

Full Review | Dec 29, 2021

Coco is a colourful, joyous and utterly charming Pixar film.

Full Review | Oct 29, 2021

Coco bursts with color and life, just like we might expect of a film by Pixar Animation Studios...

Full Review | Aug 24, 2021

It's just about a perfect combination of heart and authenticity (to a culture and place) in a story that delivers laughs, gasps, and sniffles in ample amounts.

Full Review | Jul 28, 2021

It's tender and kind, but doesn't shy away from the reality we all must face.

Full Review | Jul 21, 2021

Coco is another brilliant installment into an already near flawless collection of films (okay, all but those Cars movies).

Full Review | Original Score: 3.5/4 | Jun 8, 2021

Coco isn't a musical, but the soundtrack will top your Spotify Most Played list for weeks.

Full Review | Original Score: 4/5 | Apr 28, 2021

An unexpectedly brilliant and dynamic story about lineage, connection, and self-discovery.

Full Review | Mar 4, 2021

A heartfelt tribute to Mexican culture but more than that it is a universal story about the importance of family that is heartfelt but never saccharine.

Full Review | Original Score: 4/5 | Feb 3, 2021

What makes the film so heartfelt and resonant is its rich exploration of family, love and memory.

Full Review | Dec 29, 2020

Thematically, Coco shows the importance of family, while respecting the elderly and remembering the dead. It's not too often family films highlight that...

Full Review | Dec 23, 2020

Equal parts jokey and mature, fun-loving and melancholy.

Full Review | Original Score: 8/10 | Dec 5, 2020

A profound film going experience that is fun for the whole family as well.

Full Review | Oct 9, 2020

• Cast & crew
• User reviews

Aspiring musician Miguel, confronted with his family's ancestral ban on music, enters the Land of the Dead to find his great-great-grandfather, a legendary singer. Aspiring musician Miguel, confronted with his family's ancestral ban on music, enters the Land of the Dead to find his great-great-grandfather, a legendary singer. Aspiring musician Miguel, confronted with his family's ancestral ban on music, enters the Land of the Dead to find his great-great-grandfather, a legendary singer.

• Lee Unkrich
• Adrian Molina
• Matthew Aldrich
• Anthony Gonzalez
• Gael García Bernal
• Benjamin Bratt
• 1.3K User reviews
• 349 Critic reviews
• 81 Metascore
• 110 wins & 41 nominations total

• Ernesto de la Cruz

• Mamá Imelda

• (as Renée Victor)

• Plaza Mariachi

• Frida Kahlo

• Departures Agent

• Tía Victoria
• Adrian Molina (co-directed by)
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia Miguel was originally only going to play guitar and not sing. When the director, Lee Unkrich, discovered Anthony Gonzalez was, in fact, a talented singer, it was decided Miguel would do both so Anthony could share this talent in the film.
• Goofs The dead are obviously stuck at the age that they died. Imelda and Hector have spent several years in the afterlife at the same time, and Imelda has never realized that Hector is the same age as he was when he left her, clearly indicating the reason he never came back. She still wouldn't have known that he intended to come back and could simply think that he died shortly after deserting his family.

Héctor : [sings] Remember me, though I have to say goodbye / Remember me, don't let it make you cry / For even if I'm far away, I hold you in my heart / I sing a secret song to you, each night we are apart / Remember me, though I have to travel far / Remember me, each time you hear a sad guitar / Know that I'm with you, the only way that I can be / Until you're in my arms again, remember me...

• Crazy credits At the end of the closing credits, there is an ofrenda to the deceased people who inspired the filmmakers of Coco, in the form of a mosaic made from photographs.
• Connections Featured in WatchMojo: Top 10 Must See Trailers of June 2017 (2017)
• Soundtracks Remember Me Music & Lyrics by Kristen Anderson-Lopez & Robert Lopez Produced by Germaine Franco , Kristen Anderson-Lopez & Robert Lopez As Performed by Ernesto de la Cruz - Benjamin Bratt As Performed by Héctor & Young Coco - Gael García Bernal , Gabriella Flores & Libertad García Fonzi As Performed by Miguel & Mamá Coco - Anthony Gonzalez & Ana Ofelia Murguía

User reviews 1.3K

• jon-stokes21-539-17875
• Dec 1, 2017
• Any films similar to "Coco"?
• November 22, 2017 (United States)
• United States
• Official Facebook
• Official site
• Untitled Dia de los Muertos Project
• Pixar Animation Studios - 1200 Park Avenue, Emeryville, California, USA
• Walt Disney Pictures
• Pixar Animation Studios
• Día de Muertos
• See more company credits at IMDbPro
• $175,000,000 (estimated)
• $210,460,015
• $50,802,605
• Nov 26, 2017
• $814,337,054

Technical specs

• Runtime 1 hour 45 minutes
• Dolby Atmos
• Dolby Surround 7.1
• 12-Track Digital Sound
• Dolby Digital

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Film Review: Pixar’s ‘Coco’

Pixar's latest diversifies the studio's character lineup, if not necessarily its feel-good formula, building musical journey around the look and feel of Mexico's Día de Muertos.

By Peter Debruge

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Conceived as a vibrant celebration of Mexican culture, writer-director Lee Unkrich ’s “ Coco ” is the 19th feature from Pixar Animation Studios and the first to seriously deal with the deficit of nonwhite characters in its films — so far limited to super-sidekick Frozone in “The Incredibles,” tagalong Russell in “Up” and Mindy Kaling’s green-skinned Disgust in “Inside Out.” It’s a point worth making from the outset, not so much for political reasons (although they matter) but to indicate how this effective yet hardly exceptional addition to the Pixar oeuvre finds at least one significant front on which to innovate, even while coloring comfortably within the lines on practically everything else.

Like Remy, the rodent hero of “Ratatouille” who dreamed of working in a French restaurant, 12-year-old Miguel Rivera (voiced by Anthony Gonzalez) has just one passion in life: He wants to play the guitar. Unfortunately for him, Miguel belongs to a family of humble shoemakers where music has been forbidden for generations, ever since his great-great-grandfather walked out on his wife and daughter to pursue a career as a singer. Only in folk tales and cartoons do human beings make such inflexible rules, though it certainly simplifies the movie’s conflict.

In direct violation of the Rivera family rule, Miguel has taught himself to play the guitar, spending virtually every free moment studying the work of local singing legend Ernesto de la Cruz (Benjamin Bratt), who died young and handsome, leaving behind a trove of classic songs and black-and-white films — of which Miguel has memorized every line, look and lyric, singing along with his best-loved ballad, “Remember Me,” on his handmade instrument.

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Like so many Pixar films before it, “Coco” indulges the belief that kids know best, while it’s up to adults to come around. In the case of this particular misunderstood child, Miguel’s job is to persuade his family to change their minds, preferably by performing in the annual Día de Muertos talent show in the town plaza. That would be story enough to drive a live-action movie, but in “Coco,” Miguel’s musical stash is discovered the day before the competition, and his defiance so upsets to his abuelita (Renee Victor) that she smashes the boy’s beloved guitar.

Rather than give up, Miguel sneaks into Ernesto de la Cruz’s mausoleum on Día de Muertos and steals the star’s prized guitar, unleashing a curse that forces him to travel to the Land of the Dead, where Miguel must seek his family’s forgiveness, as well as their blessing, before being allowed to return home — an Orpheus-like katabasis (as such epic journeys are called) in which he must travel the underworld and back to set things right. The rules of this quasi-religious (but mostly superstitious) Land of the Dead are plenty complicated but stated clearly enough for even little children to follow.

After reuniting with his relatives (who live on in skeleton form, rendered in such a way that they’re far less scary than anything in Tim Burton’s ghoulish “The Nightmare Before Christmas” ensemble), Miguel is torn between obeying his family and trying to find Ernesto, whom he’s come to believe was the wannabe musician who abandoned his family so many generations before. For Mexican audiences — or those who live in California, Texas, or any place with a visible Latino presence — the cultural iconography of the Land of the Dead ought to look quite familiar, as Unkrich (who previously oversaw “Toy Story 3”) embraces and incorporates the customs and folklore of Día de Muertos into the very fabric of the film.

From the altar-like ofrendas where family photos pay tribute to loved ones lost (whose spirits remain alive in this parallel realm, so long as they are remembered by the living) to the brilliant-orange marigold petals that serve as a bridge between the two worlds, Pixar’s art department makes stunning use of the holiday’s signature elements. The film’s elaborate prologue unfolds across a series of papel picado banners (the cut-tissue-paper streamers that line the streets during times of celebration), calling for a unique style of moving-silhouette animation reminiscent of the great Michel Ocelot. On the other side, fantastical, fluorescent-bright alebrijes (or spirit animals inspired by the country’s colorful folk-art sculptures) keep the dead company — while also providing a convenient excuse for Miguel’s Xoloitzcuintli street-dog sidekick, Dante, to accompany him on his journey.

So often, cartoon animal companions feel like concessions to the studio’s marketing department, but Dante serves as both an affectionate nod to Mexico’s oldest breed of dog — a scraggly, hairless variety whose daffy expression, googly eyes and lolling tongue recall Ed, “The Lion King’s” loony hyena, in less menacing form — and a kind of hapless underworld Lassie, providing comic relief and rescue opportunities in equal measure. The character who takes slightly longer to win us over is Hector (Gael García Bernal), a gangly con artist who comes to Miguel’s assistance, hoping that by helping the boy back to the real world, he might be able to cross over as well.

By this point, the Pixar machine has gotten so efficient that watching its movies can feel less like hearing a good story than sitting in on a well-polished pitch meeting. In “Coco” — which is named after Miguel’s oldest living relative, exquisitely rendered as a damaged soul wrapped in wrinkles — there’s a clockwork sense of what every character, detail and scene is doing (the mariachi band with which Miguel performs reappears later to help him sneak into Ernesto’s compound, etc.), giving the film an almost boilerplate efficiency right up until the big confrontation between Miguel and his idol, which doesn’t go at all how one might think.

It’s strange for Pixar — whose every employee clearly believes in the importance of creativity, sacrificing time with their own families to bring these incredible stories to life — to suddenly turn cynical toward showbiz. Sure, “nothing is more important than family,” but do Unkrich and co-writers Jason Katz, Matthew Aldrich and Adrian Molina really believe that, or are they spouting the platitudes that audiences want to hear?

Though undeniably gorgeous, none of this feels terribly original, from the film’s message to the look of the Mexican underworld, which so recently inspired another computer-animated feature, 2014’s “The Book of Life.” A bit too close to that toon for comfort, “Coco” feels like Unkrich and his story team (so good at perfecting and/or “plussing” Pixar’s projects) watched “The Book of Life” and thought, “Hey, we’ve got a better idea!” or “We can fix this!” and proceeded to make their own Día de Muertos movie.

In any case, it works: “Coco’s” creators clearly had the perfect ending in mind before they’d nailed down all the other details, and though the movie drags in places, and features a few too many childish gags (like skeletons who snap off their own arms and use them as nunchaku), the story’s sincere emotional resolution earns the sobs it’s sure to inspire, inevitably bringing Ernesto’s catchy “Remember Me” back around in a fresh context (if only the song itself were more worthy of remembering). In an era when young people are so easily seduced by celebrity, “Coco” reveals the emptiness of such adulation, poignantly teaching kids to preserve and respect the memory of their elders while reminding them that the source of true creativity is so often personal.

Reviewed at Frank G. Wells screening room, Burbank, Oct. 18, 2017. MPAA Rating: PG. Running time: 105 MIN.    

• Production: (Animated) A Walt Disney Studios Motion Pictures release of a Disney presentation of a Pixar Animation Studios production. Producer: Darla K. Anderson. Executive producer: John Lasseter. Director: Lee Unkrich. Co-director: Adrian Molina. Screenplay: Molina, Matthew Aldrich; story: Unkrich, Molina, Aldrich, Jason Katz. Camera (color, widescreen): Danielle Feinberg. Editors: Steve Bloom, Unkrich. Music: Michael Giacchino.
• With: Anthony Gonzalez, Gael García Bernal, Benjamin Bratt , Alanna Ubach, Jaime Camil, Alfonso Arau, Sofía Espinosa, Selene Luna, Ana Ofelia Murguia, Renee Victor, Luis Valdez, Herbert Siguenza, Carla Medina, Edward James Olmos

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Coco review – Pixar's vibrant, melancholic adventure is a refreshing return to form

The story of a Mexican boy stuck in the Land of the Dead uses familiar Disney tropes but feels fresh thanks to a combination of humor, music and emotion

T he superficial checklist for a Disney animation usually contains an important moral lesson, a wacky animal sidekick, an asexual romance and at least one frantic chase scene. But buried underneath the bright color palette often lies a bittersweet tone and a surprisingly deft examination of grief. In films from Bambi to The Lion King to Frozen to, most notably, Up, slapstick antics have sat alongside impactful stories of loss, adding rich emotional texture to a light canvas and teaching a younger audience about death without employing a heavy hand.

In Coco, the studio’s latest collaboration with Pixar , the dead have never been so present, quite literally. The story follows Miguel, a Mexican boy who aspires to be a musician – yet in his family, all forms of music are banned. The reason for this extreme mandate can be traced back to his great-great-grandmother, who was abandoned by her singer-songwriter husband so he could follow his dreams and then instilled a hatred of music in following generations as a result. When the annual Day of the Dead comes about, Miguel rebels from those around him and inadvertently finds himself trapped on the other side, an exciting yet dangerous world inhabited by those who have crossed over. He must try to find his way back to the living while also proving his musical talents.

If it all sounds a bit ramshackle, well, for a while, it kind of is. As with some of Pixar’s other original films, such as Inside Out and Wall-E, there’s a complex universe to set up, and within the first 15 minutes of Coco, we’re bombarded with exposition. But there’s a trademark slickness that sells it and while recognizable tropes are present, there’s something warm and comforting about their familiarity, and it helps that they play out within such fantastical, fresh-feeling surroundings.

The Land of the Dead is one of Pixar’s most visually ambitious worlds yet – a breathtaking vision of interconnected neon-lit boroughs, based loosely on Guanajuato in central Mexico. Its inhabitants are able to cross over to the world of the living if, on the Day of the Dead, someone chooses to pay tribute to them with a photograph while their existence on the other side collapses once all memory of them fades in the real world. Once the slightly exhausting explanation is out of the way, these rules allow for a poignant through-line about the impact we have on those around us once we’ve passed, based on how we choose to spend our lives. Miguel is torn between a love for his family and a love for music, the former worrying that the latter will tear them apart. Coco asks what form of legacy matters the most and whether our personal ambitions can successfully coexist alongside our commitment to loved ones.

Of course, profound existential questions are delivered in a brightly colored package, alive with wit, action set pieces and, most importantly, music. Unlike a large number of Disney’s animated offerings, Pixar films have done away with original songs but Coco’s plot allows for a prominent smattering of catchy tunes. One in particular, the frequently replayed Remember Me, has the potential to join the stacked pantheon of much-loved Disney songs with sweetly sad lyrics about life and loss.

The border between the living and the dead, which operates in a similar way to a customs department, also brings up unavoidable real-world comparisons. Trump’s attempts to defame and deport Mexican immigrants cast an offscreen shadow over these scenes, but Coco is focused less on specific politics and more on something broader. After Moana and Queen of Katwe last year, it’s the latest chapter in the studio’s drive to bring more diversity to their catalogue and using an exclusively Latino cast (including Gael García Bernal and Benjamin Bratt) in a film that will reach such a wide audience feels like another important step.

While there’s a previously mentioned adherence to the Pixar playbook of predictable plot elements, the script does manage one genuinely surprising twist in the third act. As the final stretch approaches, there’s also the requisite tug at the heartstrings although it’s delivered with such devastating delicacy that even steely viewers will find themselves moist-eyed. Coco is a rousing, affecting, fun and much-needed return to form after underwhelming Finding Nemo and Cars sequels and will help to ensure that Pixar’s legacy remains intact.

• Coco is released in US cinemas on 22 November and in the UK on 19 January
• Animation in film
• Walt Disney Company

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‘coco’: film review.

Steeped in Mexican culture and folklore, 'Coco' ranks among Disney-Pixar's most engaging efforts.

By Michael Rechtshaffen

Michael Rechtshaffen

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Dia de los Muertos, the multi-day Mexican-originated holiday honoring dead family members and friends, proves to have a remarkably revitalizing effect on Pixar, as evidenced by the truly resplendent Coco .

Not only does the Disney outfit’s 19th feature, co-directed by Lee Unkrich and Adrian Molina, emerge as Pixar’s most original effort since Inside Out , it’s also among its most emotionally resonant, touching on themes of belonging common to Finding Dory and the Unkrich-directed Toy Story 3 .

Release date: Nov 22, 2017

Delivering a universal message about family bonds while adhering to folkloric traditions free of the watering down or whitewashing that have often typified Americanized appropriations of cultural heritage, the gorgeous production also boasts vibrant visuals and a peerless voice cast populated almost entirely by Mexican and Latino actors.

Although not due to arrive in North America until Thanksgiving, the film had its premiere Friday at the Morelia International Film Festival in Mexico and will open there the following week, just ahead of Dia de los Muertos festivities.

It’s a safe bet that audiences the world over will go loco for Coco .

Despite the title, the lead character is, in fact, Miguel (terrifically voiced by young Anthony Gonzalez), a 12-year-old resident of the town of Santa Cecilia who dreams of becoming a famous musician just like his idol, the late, great Ernesto de la Cruz (played with pitch-perfect grandiosity by Benjamin Bratt).

Only trouble is, Miguel’s family has forbidden any form of music in their household for the past several generations — ever since his great-great-grandfather was said to have abandoned his loved ones in pursuit of his singing career.

Despite the strong-armed disapproval of resident family enforcer Abuelita (Renee Victor), Miguel sets off to follow his muse, and, in the process, finds himself subject to an otherworldly occurrence that results in his only being visible to those who have crossed over from the Land of the Dead to take part in Dia de los Muertos celebrations.

Miguel’s only hope of reversing the effect is to be blessed with a magical marigold petal by his great-great-grandmother, Mama Imelda (Alanna Noel Ubach), but she’ll only comply under the condition that he’ll forever renounce any and all musical aspirations.

At every imaginative juncture, the filmmakers (the screenplay is credited to Pixar veteran Molina and Matthew Aldrich) create a richly woven tapestry of comprehensively researched storytelling, fully dimensional characters, clever touches both tender and amusingly macabre and vivid, beautifully textured visuals.

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There’s dazzling work on display in the inventively delineated lands of the Living and Dead, connected by a bridge constructed entirely out of thousands of those brilliant, shimmering marigold petals. And behind the scenes, the assembled voice cast similarly shines. Ana Ofelia Murguia coaxes some genuinely earned tears as Miguel’s fading great-grandmother Mama Coco (the de facto title character); over in the Land of the Dead, Gael Garcia Bernal amuses as the seemingly carefree Hector, who serves as Miguel’s resourceful tour guide.

Equally affecting is the film’s musical palette, with resident Disney-Pixar composer Michael Giacchino delivering yet another stirring score that blends seamlessly with traditional source music and tunes contributed by Molina and Germaine Franco, all topped off with the film’s soulful signature song, “Remember Me,” penned by Frozen twosome Kristen Anderson-Lopez and Robert Lopez.

Production companies: Pixar Animation Studios, Walt Disney Pictures Distributor: Disney-Pixar Cast: Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, Alanna Noel Ubach, Renee Victor, Jaime Camil, Gabriel Iglesias, Ana Ofelia Murguia, Edward James Olmos Directors: Lee Unkrich, Adrian Molina Screenwriters: Adrian Molina, Matthew Aldrich Producer: Darla K. Anderson Executive producer: John Lasseter Production designer: Harley Jessup Editor: Steve Bloom Composer: Michael Giacchino Casting: Natalie Lyon, Kevin Reher

In English and Spanish Rated PG, 94 minutes

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Coco (2017)

While it may not invigorate your soul to the degree of Pixar’s finest entries ( Up, Toy Story 3 or Inside Out ), Coco still delivers a worthy and  emotionally poignant tale about death, honouring your ancestry and pursuing your passions.

At first it may seem like an odd and slightly macabre idea for Pixar to take their established brand of family-friendly entertainment and set the film during the Mexican holiday, Dia de los Muertos (the Day of the Dead), but its dark setting and themes provide a surprisingly affecting insight into memory and mortality. And I challenge anyone to have a dry eye when Miguel and Mama Coco have “their moment”.

Miguel (Anthony Gonzalez) aspires to become a famous mariachi, just like his idol, the widely revered, Ernesto de le Cruz (Benjamin Bratt). There’s one major hindrance though that we learn during the film’s gorgeously-conceived opening credit sequence; music is absolutely forbidden in his family thanks to the sins of his great grandfather.

Through a series of events that involves the boy defying his family, fleeing from their generational traditions, breaking into a tomb and finally, stealing his idol’s priceless guitar, Miguel is unwittingly transported to the Land of the Dead where he comes face to face with his deceased ancestors and the truth about his bloodline.

Helmed by Adrian Molin and Lee Unkrich, the film is filled with endless troves of visual and aural delights (there’s some seriously great music here), but it’s the emotional weight of several narrative choices that proves the film’s ultimate and long lasting worth. In this particular otherworld, the deceased soul can only remain for as long as the living can remember them. It’s a highly intelligent and heartbreaking concept that both adult and child can’t help but be moved by.

Coco succeeds not only as yet another visually resplendent piece of Pixar filmmaking, bursting with colour and life, but as a triumphant celebration of Mexican culture and heritage. During a time when inconceivable thought is being given to building walls, this film animates a gorgeous bridge connecting worlds together; reuniting loved ones and paying respect to those who came before us.

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Review by Brian Eggert November 24, 2017

Every so often, but not often enough, a film comes along with such stirring visuals that tears begin to well up, and the viewer feels overcome by the transcendent beauty onscreen. There are several moments with this effect in Pixar’s  Coco , the premier animation studio’s 19th feature and one of their finest in the last decade. When its young hero, the twelve-year-old Miguel Riviera (voiced by Anthony Gonzalez), crosses a bridge of bright orange Aztec marigolds and looks at the bustling afterlife metropolis populated by millions of the skeletal deceased, he freezes in wonder. The viewer might not even notice that director Lee Unkrich ( Toy Story 3 ) and his co-director Adrian Molina—both longtime Pixar writers, animators, and artists—hold the shot as long as they do. In that instant, our eyes and emotions have been fully engaged, as have Miguel’s, and the shot gives us more than our brains can process in the time allotted, maintaining a profound sense of wonder and curiosity.  Coco  is a film that reminds us of the effect and importance of mise-en-scène , even when it has been assembled by animators and computers.    

Adopting rich cultural iconography, Pixar explores material already tapped by Fox in 2014’s  The Book of Life . Both films involve the Mexican holiday Día de los Muertos (Day of the Dead), a guitar-playing hero entering the underworld laden with fluorescent colors, and skeletal characters for a mix of morbid family humor and adventure. But weighing the two is like drawing a comparison between Roger Corman’s  Carnosaur and Steven Spielberg’s  Jurassic Park ; they both opened in 1993 and feature escaped dinosaurs, though the result is acutely different.  Coco  also happens to be the first entirely non-white Pixar film, offering a degree of cultural diversity that goes beyond Samuel L. Jackson’s black Frozone in  The Incredibles  (2004) or the Asian American scout Russell in  Up   (2009). The film also strays from the jealously U.S.-based perspective of most animated features, steeping the viewer in a Latin-American cultural identity—complete with alternative representations of spirituality, religion, and family values.

Set in the small town of Santa Cecilia,  Coco  follows Miguel’s unlikely passion to play the guitar, which—not unlike the Parisian rodent Remy from Pixar’s  Ratatouille (2007) or the isolated robot in  WALL·E  (2008) who yearns for companionship—remains a distant dream given the limitations set upon him. Miguel idolizes the great Mexican film star Ernesto de la Cruz (Benjamin Bratt), a singer-songwriter of early cinema who has long since died, and dreams of performing like de la Cruz someday. He watches the star’s old movies, where he’s learned to sing and play guitar, but he must keep his passion for music a secret. The elaborate, but surprisingly uncomplicated Riviera family history tells of Miguel’s mysterious great-great grandfather, a famous musician, who abandoned his family to play music. Ever since, the Rivieras have been shoemakers and forbid any performance of music in their home, sometimes harshly enforced by his grandmother, Abuelita (Renée Victor). Miguel’s oldest living relative, his great-grandmother Mamá Coco (Ana Ofelia Murguía), a melancholy and wrinkled shell, remains hunched in her chair, with fading memories of the family’s history. The photos of Miguel’s departed ancestors have been staged on the family’s ofrenda, a table of offerings meant to invite remembered family spirits home on the annual Día de los Muertos celebration.

Despite being barred from playing music, Miguel resolves to steal the guitar in de la Cruz’s local mausoleum, but stealing from the dead on the Día de los Muertos means Miguel has been cursed—subject to a katabasis , the Greek term for a classical adventure into the underworld. Miguel begins his descent alongside his unofficial companion, the stray Xolo (a breed of Mexican hairless canine) named Dante, a sort of goofy and clumsy, but not altogether useless, animal sidekick. Together, they search the underworld to secure a blessing from Miguel’s ousted ancestor, none other than de la Cruz himself, which will allow the boy to return to the land of the living, but also give him the familial right to play the guitar. Meanwhile, as one might expect, the dead aren’t accustomed to having a member of the living in their city. With the help of a tragic loner, Hector (Gael Garcia Bernal), Miguel hides behind skeleton facepaint and searches for his family origins.

Many of the rules established for the land of the dead seem complicated and intricate, but Pixar has a habit of storytelling so efficient that such detailed world-building seems almost oversimplified. For instance, Miguel cannot remain in the afterlife forever; he has only until morning, and over the course of his odyssey, he gradually fades into a skeleton. Similarly, Hector has begun to fade. The dead remain in the underworld city only so long as their living family remembers them. Hector has no family to place his photo on their ofrenda, and so he helps Miguel in exchange for displaying his photo to ensure he is not forgotten. Miguel’s skeletal ancestors, led by his great-great grandmother Mamá Imelda (Alanna Ubach) who first started the family’s ban on music, try to recover him from Hector, helped along by vivid, glowing spirit animals called alebrije. Some of the plot machinations may seem obvious, including a twist that comes as no surprise at all. But the emotional weight of the narrative lends substance to Miguel, making every step in his journey a significant one.

Pixar deserves recognition for the respectful and impassioned portrayal of cultural specificity and detail in  Coco , achieved as Unkrich and Molina invited their crew on several trips to Mexican cities for research—visiting churches, cemeteries, markets, and family homes to ensure the film contained an accurate representation of Mexican traditions and Día de los Muertos festivities. Although Unkrich originally conceived the story, Molina and Matthew Aldrich incorporate the kind of personal details that remain unique to a multi-generational Mexican household. The film’s music also bears a distinct cultural signature. Michael Giacchino composed the score, using an orchestra comprised of many Latin American musicians who used instruments (like bamboo flutes and Aztec percussives like drums, rasps, rattles, and shakers) outside of the usual orchestra norm. The many songs in the film (“Remember Me” is an instant classic) prove memorable and astoundingly performed, especially those by the 12-year-old Gonzalez, whose love for Mariachi is evident.

But the lovely aesthetics and heart of the narrative occupy the center stage. When so many films contain unmemorable visuals, the mise-en-scène   in  Coco  has been labored over by hundreds of animators to create something uncommonly beautiful. There are moments when the eyes wander about the screen, lost in fascinating details. In one sequence, Miguel and Hector have been dropped into a sinkhole with groundwater at the bottom, and the animated water appears photoreal. And while the skeleton characters take cartoony shapes and have expressive movements, the up-close grooves in their bones looks meticulously drawn. Elsewhere,  Coco  features several references to Frida Khalo, including an appearance by the iconic Mexican artist in all of her self-obsessed, uni-browed, and fiery glory. Somehow Pixar has rendered what the surrealist female painter might have been working on had she assembled a stage performance combining video, dancers, and conceptual metaphors—achieving one of the film’s biggest laughs.

Enchanting and heartwarming,  Coco  is an unabashed love letter to Mexican culture and folklore, realized through some of Pixar’s best and more expansive animation yet. Although some of the story beats may seem predictable, as suggested above, those few moments are completely eclipsed by the film’s visual spectacle and engaging emotional pull. Miguel’s eventual performances and the family dynamics of the Riviera clan have impressive, but never oppressive, dramatic heft. With an appreciation for fine art, classic cinema, and nods to countless sources of Mexican culture,  Coco also offers a few timely, perhaps unintentional subtexts that celebrate a marginalized (and downright oppressed) people and also warn against celebrity worship over familial bonds. It’s all balanced and made remarkable by Pixar’s well-polished, unchallenged mastery of modern animation. Suffice it to say, I loved  Coco , what it showed me, how it made me feel, and what it represents.

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Movie Review: Coco (2017)

• Howard Schumann
• Movie Reviews
• No responses
• --> January 18, 2018

“Holding on to anger is like drinking poison and expecting the other person to die” — Buddha

Directed by Lee Unkrich (“ Toy Story 3 ”) and Adrian Molina, Coco , the latest animated film from Disney-Pixar tells us to follow our dreams, seize the moment, and regard our family as paramount. These ideals can often be mutually exclusive, however, as 12-year-old Miguel Rivera (voiced by Anthony Gonzalez) discovers. Miguel, who lives in the village of Santa Cecilia in Mexico, wants nothing else than to be a musician but his father (voiced by Jaime Camil, “Jane the Virgin” TV series) tells him that his family is one of shoemakers and that he must follow the tradition.

The family’s antagonism toward music began years earlier when the husband of Miguel’s great-great grandmother Imelda (voiced by Alanna Ubach, “Helen Keller vs. Nightwolves”) left the family to pursue his music career, a decision for which he has never been forgiven. Coco is set during the Mexican holiday known as Dia de Los Muertos (Day of the Dead), a celebration in which families pay respect to their deceased ancestors. In Miguel’s home, pictures of three generations of ancestors are placed on a ritual altar known as the ofrenda, though the top photograph is torn where the musician ancestor would have been.

Miguel’s idol is the singer Ernesto de la Cruz (voiced by Benjamin Bratt, “ The Infiltrator ”) whose song, “Remember Me,” when played by Miguel to his aged great-grandmother Mama Coco (voiced by Ana Ofelia Murguía, “The Last Call”), is a poignant reminder of everyone’s wish to be remembered. After Miguel’s domineering grandmother Abuelita Elena (voiced by Renée Victor, “ Paranormal Activity: The Marked Ones ”) follows Miguel into the plaza and smashes the guitar he planned to use in the local talent competition, the boy enters Cruz’s tomb to “borrow” his guitar. This action, however, upsets the “space-time continuum” and he is unceremoniously transported to the Land of the Dead together with his faithful dog Dante.

Miguel knows that he is no longer in Kansas when he sees skeletal-like figures with colorful skulls existing in a strangely elaborate and visually diverse landscape. Though the dead can cross over to the other side via a bridge of marigolds, the spirits continue to exist only through the continuing memories of their loved ones in the world of the living. Once they are forgotten, they die a second death and disappear. Seeking clues to his family’s past, Miguel must obtain permission from someone in his family to return home before sunrise.

He meets several generations of ancestors, but they refuse to give him the blessing he needs to return unless he gives up music, something he refuses to do. Instead, Miguel vows to find and seek the blessing of de la Cruz whom he believes is the missing relative from the photograph. Fortunately, he receives assistance from Héctor (voiced by Gael García Bernal, “ Salt and Fire ”), a drifter who wants Miguel to take his photograph to his relatives in the land of the living so that he will not be forgotten. Their strange relationship opens a path for Miguel to see the world in a different light.

Coco is a heartwarming and beautifully animated story about a young person’s passion for music and his struggle to confront and overcome his family’s resistance to his dream. It is a juggling act. Miguel must learn to value his self worth and the courage to be true to himself while maintaining loyalty to the family he loves. He must also discover that no one ever really dies as long as their memories remain in the hearts of those who love them. And while the plot can become convoluted, the film is not really about the narrative but about the joy of self expression and, when we hear Miguel singing “Un Poco Loco” with the bone rattling Héctor, it is a moment of rare exuberance.

Tagged: children , love , magic , Mexico , musician

I am a retired father of two living with my wife in Vancouver, B.C. who has had a lifelong interest in the arts.

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‘Coco’ Review: Pixar’s Day-of-the-Dead Gem Is as Lively as They Come

By Peter Travers

Peter Travers

With its cast of skeletons and macabre “I see dead people” vibe, Coco may be the strangest thing ever to come out of the Pixar animation factory. That’s a good thing. Their latest animated movie finds the company spreading its wings and pushing into new territory, including betrayal and murder, without neglecting its family franchise responsibilities. It’s a tricky business, which Pixar, mostly, pulls off in high style.

Lee Unkrich, his co-director Adrian Molina and their team of screenwriters have conceived Coco as a salute to Mexican culture – the voice cast is almost entirely Latino, as are the settings. The film’s hero is 12-year-old Miguel Rivera (voiced by Anthony Gonzalez), a kid from the small village of Santa Cecilia who just wants to sing and play guitar. But his family of shoemakers forbids it. Why? It’s seems Miguel’s great-great-grandfather deserted his wife and daughter to hit the road and make it as a singer. His daughter, Mama Coco (Renee Victor), now sits silently in old age, lost in memories she never speaks of. Miguel, however, is driven to follow in the footsteps of Ernesto de la Cruz (Benjamin Bratt), the Mexican Elvis who died young  – a church bell gonged him – but left behind hit songs and movies that the boy obsesses over. He even fantasizes that Ernesto could be his great-great-grandfather. If only the lad could meet him.

Which brings us to the dead. In one of those plot loopholes perfect for fables and kid-flicks, Miguel steals a guitar from the de la Cruz mausoleum, which leaves him cursed. The boy’s only recourse is to cross a bridge made of a magical marigold petals and slip into the underworld on Día de Muertos, beg forgiveness and maybe meet the late, great troubadour himself before being permitted to return to the land of the living. Did we mention that Miguel’s hairless pup, Dante (!), follows him. Too cute? Maybe. But his furry friend offers much-needed comic relief.

It’s a lot of plot, but the movie charms itself into our good graces when it enters the netherworld, a neon-colored  nonstop fiesta that’s a blast even if you’re just a bag of bones. And, oh boy, those alebrijes, the fantasy creatures that leap around like Mexican folk art brought to vibrant life! It’s here that Coco picks up visual punch and a creative head of steam. On the Day of the Dead, those who’ve passed to the other side can also cross over to the living, as long as someone remembers them in the real world. If not, there’s nothing. 

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While the kiddies wrestle with that conundrum, grownups will be treated to a story that involves real-world issues. Miguel finds a guide to the spirit world in Hector ( Gael García Bernal ), a scam artist who brings him to his idol Ernesto. What happens next is something viewers should discover on their own, but let’s just say more than a few family mysteries. Bernal and Bratt do their most resonant voice work in these scenes, and kudos to the latter for showing real vocal chops on the film’s biggest song, “Remember Me,” a lush ballad from the Frozen duo of Robert Lopez and Kristen Anderson-Lopez. There’s also “Un Poco Loco,” a snappy duet for Miguel and Hector that’s a real spirit lifter (literally).

Coco brims over with visual pleasures, comic energy and emotional wallop. The climax is a real weeper as well: There’s something indelibly moving about a child getting in touch with the ancestors he’s lost and forging a bond that can last over time. Of course, a lesson is being preached to children about the need to respect elders. But Pixar’s 19th feature brings a soulful core to that message that helps the film ride over its rougher patches. It’s not in the master class of, say, Toy Story, Inside Out or Wall-E. But it’s definitely worth remembering.

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Movie Review – Coco (2017)

November 21, 2017 by Robert Kojder

Coco , 2017.

Directed by Lee Unkrich. Feature the voice talents of Anthony González, Benjamin Bratt, Gael García Bernal, Alanna Ubach, Renee Victor, Jaime Camil, Gabriel Iglesias, Ana Ofelia Murguía, Edward James Olmos, John Ratzenberger, and Cheech Marin.

Aspiring musician Miguel, confronted with his family’s ancestral ban on music, enters the Land of the Dead to work out the mystery.

Music is a universal art form, so it would be perplexing (and would probably set off bullshit alarms) to discover a family with such hatred for it that they forbid it period. Literally, every human being on the planet likely has a song or piece that connects to their emotions on a personal wavelength. However, that is the bummer case with Miguel’s (Anthony González) kin, who instead funnel all of their efforts into a successful homegrown shoe designing business established by a long-lost ancestor as a reactionary method to cope with the pain of her and her daughter, the titular Coco (great-grandmother to Miguel), being abandoned by the man of the clan to pursue his ambitious musical career. His meteoric fame only made the sadness harder to bear.

Following some lengthy but cleverly integrated exposition, the crowded bunch prepare for Dia de Los Muertos which translates to the Mexican holiday Day of the Dead; it’s a 24-hour window thoughtfully set aside for remembrance of loved ones where it is believed that spirits can cross over into the realm of the living and interact with them. Pixar culturally envisions these wonders with an actual alternate plane of existence where the dead reside, populated with child-friendly skeletal incarnations of the deceased (all sporting different clothing attire and bone structure to match their personalities and living physical appearances respectively). The narratively minded animated geniuses ( Toy Story 3 director Lee Unkrich helms the daunting project working from a story conceptualized by story artist Adrian Molina) run wild with brightly colored imaginations, expanding on the celebratory occasion in a number of ways, but it’s really best to simply experience Coco with as little beforehand knowledge as possible.

Essentially, Miguel stumbles upon a way to traverse between spectral planes, with his intent being to find his great-great-great-grandfather, Ernesto de la Cruz (Benjamin Bratt) who is rocking out in the afterlife so that he can gain permission to follow in his footsteps (something his surrounding relatives staunchly oppose, slowly forcing him into designing shoes as the young boy ages) and maybe even gain an understanding as to how he came about the difficult decision to leave his blood behind and never return.

There are definitely accessible elements to younger audiences (namely some slapstick humor in addition to a stray dog companion seeking to find a purpose unexpectedly as a spirit guide after inexplicably crossing into the Land of the Dead with Miguel), but Coco is far more comparable to recent Pixar masterpieces like Inside Out in that it isn’t afraid to explore heavy themes for adults. Not to mention, there is an equal fascination learning the ins and outs of both created worlds (the Land of the Dead has a society complete with jobs and more). The struggles of a hungry artist are another example, but Coco is dealing with life and death in ways that will genuinely move just about anyone that watches it. Coco is so genuinely moving that if someone had recently lost a loved one and went to see it, I honestly don’t know if they would be able to finish the movie, and if they did, their eyes would be buried in tears.

Keep in mind, Coco is still a feature that should be watched by viewers of all ages, also boasting a striking color palette and charming side characters that makes the Land of the Dead feel more lively than most movies this year. The inclusion of different kinds of animals functioning as spirit guides is initially offputting solely feeling like a distraction to make sure children don’t become bored, but I’ll be damned if by the end I wasn’t beguiled by their colorful presence. Naturally, Coco is also richly steeped in Mexican heritage, respectfully handling the presentation of the delicate holiday by fusing the experience with Mariachi bands, references to luchadors (professional wrestlers in Mexico), authentic looking locales, catchy songs from Marco Antonio Solis in collaboration with the always reliable Michael Giacchino, and a full-blown cast of Hispanic actors. However, the beauty of it all is that citizens of all walks of life will come away enamored, possibly with new perspectives and thought processes on the afterlife. It’s an enriching and enlightening experience.

With that said, it would have been more appropriate if the script could function in a way that doesn’t serve up a villain at all. If memory serves me correctly, Inside Out is the only Pixar film to date that doesn’t have an evildoer, and it’s one of many reasons that it’s arguably their strongest feature in an already staggeringly incredible body of work. A certain aspect here just feels too predictable (even with copious amounts of misdirection from the filmmakers), even if it does add another layer of discussion to the cost of artistic success versus supporting one’s family.

Accounting for that one nitpick, Coco is easily the best animated feature of 2017. It’s absolutely gorgeous (Pixar once again displays incredible attention to detail whether it is with environmental or physical effects, or immersive touches such as Miguel’s fingers strumming on a guitar). The themes explored are as universal as the art of music itself, resulting in a touching celebration of life and the afterlife. Most importantly, it expresses the importance of never forgetting our heritage, where we come from, and our loved ones who came before us.

Flickering Myth Rating  – Film: ★ ★ ★ ★ / Movie: ★ ★ ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Flickering Myth Reviews Editor. Check  here  for new reviews, friend me on Facebook, follow my  Twitter  or  Letterboxd , check out my personal non-Flickering Myth affiliated  Patreon , or email me at [email protected]

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Coco (2017) Review

SEIZE YOUR MOMENT!

Pixar Animation Studios has been hailed as one of the premiere animated studios in all of Hollywood. Known for their popular big hits like Toy Story , The Incredibles , Monsters Inc , Up , and Inside Out , Pixar has gain the reputation for its high quality of cartoon feature films that have gone beyond the standard status quo of children’s animated movies. From its gorgeous and intricately detailed animation, to the colorful cast of characters, to its thematically and heartwarming signature of a story and / or messages, Pixar has proven that (time and time again) that their animated features, while aimed for kids, are wholesome entertainment for both the young and the young at heart. Unfortunately, while Pixar’s creativity has always been fascinated and well-founded with each and every film they release, the past decade has seen the studio return to its popular hits and used them as “brands” for follow-up sequels with films like Toy Story 3 , Monsters University , Finding Dory , and most recently with Cars 3 . While there’s nothing terrible wrong with this (finding many of these features to be well-received by critics and moviegoers), it somewhat dulls the sharp originality that made Pixar what stand out from its competition. Now, set to release its second 2017 film, Pixar Animation (in association With Walt Disney) and director Lee Unkrich (as well as co-director Adrian Molina) present the nineteenth feature film from the powerhouse studio with the movie Coco . Does this newest Pixar film find a home within its illustrious predecessors or does it falter in capturing the studio’s signature magic?

Twelve-year old Miguel Rivera (Anthony Gonzalez) is descendant from a family of shoemakers, but has not desire to partake in the family business. Instead, Miguel desire of becoming a musician, following in the footsteps of his idol, the widely celebrated musical performer, Ernesto de la Cruz (Benjamin Bratt). Unfortunately, Miguel’s dreams are quickly silenced by his family’s long-standing ban on music that has been passed down through the generations; a story that began when Miguel’s great, great grandfather (a musician) abandoned his family to follow his dreams, leaving his wife, Mama Imelda (Alanna Ubach) to raise Miguel’s great grandmother, Mama Coco (Ana Ofelia Murguia), on her own.  As the Dia de los Muertos Festival arrives, Miguel’s family, with his grandmother Abuelita (Renee Victor) as the head of the Rivera family, soon discovers that he’s been secretly idolizing Ernesto and teaching himself how to play the guitar, forbidding the young boy from pursuing a career as a musician. In an attempt to prove himself to them (and to the world), Miguel steals the Ernesto’s famous guitar and accidentally transports himself to the Land of the Dead. Though Miguel meets his deceased ancestors, they too still don’t understand Miguel passion for music, and he sets out to search for Ernesto with the help of the charming con man Hector (Gael Garcia Bernal), who needs the boy’s help in order to visit the Land of the Living. However, Miguel, who comes face-to-face with the hard truth about his family’s grudge for music, must find a way home before sunrise, which makes the end of Dia de los Muertos, or else he’ll be trapped in the Land of the Dead forever.

THE GOOD / THE BAD

What can I say…. I love Pixar Movies. Yes, I do have a natural affinity towards animated movies, but the ones underneath the Pixar banner are some of my favorite. I mean, simply attaching a the “Pixar” name to an animated feature gives it that type of prestige quality that you know its going to a beautifully crafted and poignant cartoon movie. As the old saying goes “the proof is in the pudding” as the Pixar has garnished quite a reputation as being one of the premiere animation studios, each one carrying a certain signature pedigree that the studio is widely known for, with movies like Toy Story , Finding Nemo , Monsters Inc , and Inside Out are some of my personal favorite Pixar films. Also, as stated above, I do enjoy some of their animated shorts, which usually are attached to their movies’ releases (usually showing before the feature). That being said, Pixar has circled back around several times to familiar territory, creating sequels to already established films rather than crafting new / original animated tales. This has caused many to question if that the prolithic animation studio has (as the saying goes) run out of ideas. Still, Pixar continues to be one of the most celebrated studios in children’s animated film entertainment.

This, of course, brings it all back to my review for Coco , Pixar’s newest movie release. After their 2016 release of The Good Dinosaur (a film that was on the weaker side), I thought that Pixar was starting to lose its edge, but, seeing Cars 3 , their first of two releases in 2017, brought their interest back to heart and on point. This is especially noted as the Cars movie (as a whole) are typically cited as one of the more weaker films of Pixar’s catalogue; finding Cars 3 to end more on high note rather than a low one. So, Coco , their second movie release in 2017, was pretty much hyped up for most of the year, with various movie trailers being promoted throughout. Seeing them many times in my weekly movie theater outings got me really interested, especially in the film’s animation. However, I did have some reservations about Coco , which (on the surface) that looked like a bit similar to 2014’s The Book of Life ; an animated tale that talked about Dia de los Muertos as well as a character venturing to the Land of the Dead and meeting his ancestors. Still, I was definitely curious (and hyped) to see Coco . So, what did I think of Pixar’s nineteenth animated feature? I loved it! While there are some minor hiccups along the way, Coco is a heartwarming story about family and a beautifully crafted “coming of age” tale that’s molded in Pixar’s traditions and in Mexico’s Dia de los Muertos. In short, Coco is not just a great animated for just Pixar, but for the 2017 as well.

Coco is directed by Lee Unkrich, who’s previously directed Pixar’s Toy Story 3 as well as co-directing other Pixar films such as Monsters Inc . and Finding Nemo . Additionally, Unkrich gets additionally help with Adrian Molina, who has worked on several Pixar features like Monsters University (story artist) and The Good Dinosaur (screenplay writer). Together, both Unkrich and Molina helm Coco and navigate the feature tale of Miguel’s journey from start to finish. To their credit, both succeed in their endeavors with this movie being a crowning achievement to both Pixar veterans. Coco’s story, which was penned by Unkrich and Molina as well as Jason Katz and Matthew Aldrich, is a mixture of the familiar and originality. As a whole, Miguel’s adventure is your typical hero’s journey / coming of age tale, hitting all the right beats of important life lessons about himself and about his situation. Additionally, the motivations behind Miguel’s choices / decisions (i.e. to follow his dreams and not feeling understood by his family) are universal to everyone (both in real life and in the cinematic world of storytelling), using that idea to spring board off of and to the start the feature as well as to anchor the narrative the film in its entirely for an emotional and satisfying arc resolution in the third act. While it may sound conventional to some, especially for being a kid’s animated film, there are plenty of new elements in Coco to make the film feel fresher than most. This includes the movie being rooted in a Mexican influence, which offers a new story perspective outline for Pixar Animated Studios to present in one of their feature films.

Interestingly, Unkrich and Molina don’t just make Coco have a Latin-flavored setting and nuances, but rather fully embrace its Mexican culture. This is most prevalent in the film’s usage of the Spanish language and the depictions of both Dia de los Muertos celebration (respecting your ancestors and the like) and in the Land of the Dead (rules of the afterlife and spirt animals). Also, the passion art of music (singing and instruments) are also highlighted in the feature, which plays a big part in the film’s story as well as in the Latin culture. Even the film’s message of self-identity vs the identity of one’s family is placed in full view of Miguel’s journey story arc in the film. This, of course, plays a paramount importance in Coco and speaks to Pixar’s signature style of presenting an animated tale with the right amount of emotion and depth behind it. In truth, Coco , like Inside Out , feels the most “human” of Pixar’s animated movies as the movie’s emotionally beats feel natural and genuine and never manufactured (a problem I had with The Good Dinosaur ).  I wouldn’t be surprise if some viewers might shed a tear or two by the time the end credits begin to roll. So, even though I couldn’t get The Book of Life film out of my head while watching this movie, Coco makes itself stand out with one foot in familiarity and the other in its own originality.

On a technical filmmaking level, Coco shines brilliantly. The expansive world that the story plays out in is beautifully animated. The contrast of the quaint Mexican / Latin village motif in the Land of the Living to the more fantastical and vibrant setting in the Land of the Dead is something to behold and the cinematography, which was done by Matt Aspbury and Danielle Feinberg, is quite exceptionally for an animated movie, especially when Miguel first enters the Land of the Dead. Even the animation quality for the movie is top-notch as all the colors look brightly and are intricately detailed. Last year, Disney pushed the animation level with Moana , but Pixar pushes the boundaries of animation to a whole new level with Coco . Even character body movement from walking to slight hand gestures on a guitar are almost fluid enough to be mistaken to be for real-life. This just proves that Pixar is still one of the premier animated studios out there with its visual flair of CGI cartoon rendering. Lastly, since the art of music is important in Coco , the film’s musical score, which was composed by Michael Giacchino, plays as an instrumental piece to the feature and (like most of the movie) is rooted with Spanish style of music as well as the strong representations of flourish, sweeps, and melodies that usually accompany a Pixar film.

Unfortunately, Coco doesn’t walk away completely unscathed from criticism. Despite its positives and overall likeability, I did have one or two minor nitpicks with Pixar’s newest film. The first one is that the movie is a little deep at some points. Yes, I do know that Pixar movies usually have more depth and emotion than most other animated features out there, but there are some dark undertone elements here and there that may not be for the very young moviegoers out there. The next one is that the film’s big twist revelation, which is made pretty obvious, as I guessed it somewhere in the first act and (sure enough) my guesstimation was indeed correct. Thus, it kind of dilutes the overall “surprise” of it all when it actually does happen. In truth, it’s a little “on the nose” on how its presented as I guessed many out there will see it coming in and around the same time I did. Again, these are just merely minor nitpicks I had with Coco as these really didn’t distract much from my overall enjoyment of the feature.

The voice talent selection for Coco is also another positive for the film, especially found in the three main characters that are presented (Miguel, Hector, and Ernesto de la Cruz), who are voiced by Anthony Gonzalez, Gael Garcia Bernal, and Benjamin Bratt respectfully. Acting as the true main protagonist of the movie, Gonzalez, known for his roles in Imagination of Young and Icebox , is absolutely perfect as Miguel; imbuing the character with enough sincerity and heart to make him quite endearing to root for throughout his journey. Additionally, Gonzalez, who is mostly relatively unknown actor, displays a lot of range of emotions for Miguel (i.e. nervous, comical, sad, etc.) for such a young actor, which definitely adds to the character in both vocal terms and in character development. To simply put it, Gonzalez is one of the best parts of Coco …plain and simple. Also, Miguel’s faithful canine companion (Dante) is both hilarious and endearing throughout the movie.

Aiding Gonzalez’s Miguel for most of the feature is the character of Hector, a charming trickster in the Land of the Dead, who is voiced by actor Gael Garcia Bernal. Known for his roles in The Motorcycle Diaries , Mozart in the Jungle , and Letters to Juliet , Bernal is fantastic as Hector, giving the undead spirt a sort of rapscallion persona with a nice balance of charm and insecurity, but also some richer dramatic character moments that are presented as well.  Additionally, Bernal lends weight and distinction to Hector’s voice as if he’s seasoned veteran to voiceover work, which also makes Hector a very dynamic companion character for the film’s hero (Miguel) and for himself. Together, both Gonzalez and Bernal do exceptional work in their own respective characters in Coco , but also in their on-screen chemistry with each other, which might sound strange (especially since this is an animated movie), but Miguel and Hector are great with the film focuses on them. Round out the main principal cast is the character of Ernesto de la Cruz, the famous musician that Miguel idolizes and that he must find on his journey through the Land of the Dead, who is voiced by actor Benjamin Bratt. Known for his roles in Law & Order , Despicable Me 2 , and Miss Congeniality , Bratt is the big-ticketed voice actor on this feature and does give a sense of seasoned gravitas in how he voices Ernesto, using his smooth-talking voice and charm to give the character the necessary star power bravado one would expect from a celebrity (in both the Land of the Living and in the Land of the Dead). Like the other two, Bratt is solid in his roles as Ernesto.

While those three characters are main principal figureheads of the feature, there are a few supporting characters that make up importance in Coco’s overall narrative. This includes Renée Victor ( Weeds and Paranormal Activity: The Marked Ones ) as Miguel’s grandmother Abuelita Elena, Alanna Ubach ( Girlfriend’s Guide to Divorce and Meet the Fockers ) as Miguel’s late great-great-grandmother Mamá Imelda, and Ana Ofelia Murguía ( Written on the Body of Night and Bandidas ) as Miguel’s great grandmother Mamá Coco. These characters, though supporting ones, are presented as vital piece to the Miguel’s journey in Coco, and each one is developed enough for us (the viewers) to care about them. Other noteworthy voice talents, including Alfonso Arau ( Romancing the Stone and ¡Three Amigos! ) Papá Julio (Miguel’s late great-grandfather and Coco’s husband), Dyana Ortellí ( American Me and La Bamba ), as Tía Victoria (Miguel’s late aunt, Abuelita’s sister), Herbert Siguenza ( Larry Crowne and Mission Hill ) as Tío Felipe and Tío Oscar (Imelda’s late twin brothers), Jaime Camil ( Jane the Virgin and The Prettiest Ugly Girl ) as Papá Enrique (Miguel’s father), and Sofía Espinosa ( Gloria and The Girl on the Stone ) as Mamá Luisa (Miguel’s mother), provide solid voice acting bits and perform their parts in the film’s narrative, but could’ve been expanded on a bit more to fully flesh them out. This is one of the problems with Coco as there too many supporting characters for everyone to be well-rounded. Also, there are few cameo-like character appearances that are provided voice actors from Gabriel Iglesias ( Magic Mike XXL and The Star ), Edward James Olmos ( Battlestar Galactica and Blade Runner ), Cheech Marin ( Nash Bridges and Desperado ), and John Ratzenberger ( Cheers and all Pixar films releases).

Lastly, as per the standard custom of a Pixar’s film theatrical release, an animated short is attached before Coco’s proceedings. To much celebration, the short is actually a short from Disney’s 2013 Frozen , which is titled Olaf’s Frozen Adventure . The short, which was directed by Kevin Deters and Stevie Wermers, tells the story of everyone’s favorite snowman (Olaf) as he tries to find the Christmas holiday traditions in the Kingdom of Arendelle for Princess Anna and Queen Elsa. Like the original 2013 film and the first Frozen animated short ( Frozen Fever ), the animation is wonderful with all the original voice talents (i.e. Kristen Bell, Idina Menzel, Jonathan Groff, and Josh Gad) and several brand-new songs to be sung. Additionally, this animated short is actually quite long with a runtime of 21 minutes long, which I was very surprised, but I loved every second of it. All in all, Olaf’s Frozen Adventure was a terrific animated short as it was fun to revisit the Kingdom Arendelle and all of its lively inhabitants that live there. I can’t wait to see Frozen 2 !

FINAL THOUGHTS

Miguel journeys to the Land of the Dead; meeting his ancestors and discovering more about his family’s history (as well as himself) in the movie Coco . Director Lee Unkrich and co-director Adrian Molina present the nineteenth animated film for Pixar Animated Studio, infusing their signature style into a heartwarming tale about family and music. While there are a few minor nitpicks about the movie, Coco is a fantastic addition to Pixar’s film library, offering up incredible colorful animation, solid voice talents, and a touching story that can resonate with everyone. Personally, I loved this movie. It had everything I expected a Pixar movie to had, but the film exceeded my expectations with plenty to like and then some. Thus, it goes without saying that I would give my highly recommended stamp of approval to Coco to be seeing by all as it offers something that’s both beautiful and entertaining at the same time (and that’s a good thing for an animated movie to achieve). While Incredibles 2 . Pixar’s twentieth and upcoming 2018 release) brings the studio back to its franchise / brand roots, Coco stands tall and proud as a Pixar classic masterpiece, proving that the animation studio’s still reigns supreme in children’s cartoon feature films and that their original ideas are just as strong as ever. In short, Pixar (via its release of Coco ) seizes its own moment!

4.5 Out of 5 (Highly Recommended )

Released on: november 22nd, 2017, reviewed on: november 26th, 2017.

Coco  is 109 minutes long and is rated PG for thematic elements

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11 comments.

“Dying” to see Coco. Thanks for your detailed analysis. Ciao.

As a Pixar devotee form way-back-when, I too am looking forward to Coco. Unfortunately, we Australians won’t get to see it until the New Year 🙁

As usual, it’s lovely. Nice review.

I know….right. Coco represents how much Pixar is about animation and story as well as their signature touch.

I loved the colours, could have watched this over and over. But paired with the Frozen short, it made for a run time longer than I expected.

Haha…you must of really hated that Frozen short, but yes Coco was definitely one of the better Pixar movies out there…definitely in my top 5 favorite Pixar movies.

Brilliant review as usual Jason, Some deep and interesting thoughts for sure! Rr

I’ve seen it twice now. The guitar and the Day of the Dead parts brought me back! Really a great Pixar feature.

Love the movie, very heart warming 🙂

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Film Review – Coco (2017)

Disney and Pixar have owned Thanksgiving weekend the past few years , and this year is no different with the release of a new, original film, Coco !  The film begins Pixar’s plan to inject more original films into its library, meaning that you probably won’t see  Cars 4  any time soon .  The follow review will be spoiler free.

Directed By:  Lee Unkrich and Adrian Molina

Written By:  Matthew Aldrich and Adrian Molina

Starring:  Anthony Gonzalez, Gael Garcia Bernal, Benjamin Bratt, and Edward James Olmos

Young Miguel (Gonzalez) loves music.  All he wants to do in life is be just like his hero, Ernesto de la Cruz (Bratt), one of the most famous musicians known to man.  In the pursuit of his dream (and in a bizarre turn of events), Miguel finds himself in the Land of the Dead.  Miguel quickly teams up with Hector (Bernal) as he learns of the history of his family, coming to terms with the fact that music might not be the only important thing in life .

Sometimes, a studio knows exactly when to a release a movie.  Disney and Pixar have owned the Thanksgiving season for a few years now, releasing an animated film from either animation branch since 2012.  On top of that fact, all the films have been extremely successful for the most part.   Take a look for yourself:

Wreck-It Ralph

• Release Date: November 2nd, 2012
• Budget: $165 million
• Total International Gross: $471 million
• Release Date: November 22nd, 2013
• Budget: $150 million
• Total International Gross: $1.28 billion
• Release Date: November 7th, 2014
• Total International Gross: $658 miilion

The Good Dinosaur

• Release Date: November 25th, 2015
• Budget: $190 million
• Total International Gross: $332 million
• Release Date: November 23rd, 2015
• Total International Gross: $643 million

One must note that  The Good Dinosaur  had some problems during productions , making it somewhat of an outlier among the other favorites listed above.  Even so, there’s a noticeable trend in place here.

It seems pretty obvious.  Thanksgiving is a time for families, and a time of heavy traffic at the movie theaters.  These animated films probably would have done well any other time of the year, but they definitely get an added boost from the holiday.  Disney and Pixar have their products down to a science, and we continue to eat them up.

image via Den of Geek

Beautiful Animation That Continues Pixar’s Pursuit to Grow

With every movie, Pixar looks to push to even greater heights from a technical perspective .  They add extra wrinkles of brilliance upon the release of every movie.   Coco  may be one of Pixar’s greatest achievementst thus far, blending fantastical and realistic elements together for a true treat for the eyes.

Every frame takes hours of work, making  Coco ‘s expansive depiction of the Land of the Dead truly amazing.  Co-director Alfred Molina exclaimed that working with Pixar was an unbelievable experience in that their  attention to detail is unparalleled among animation groups in Hollywood.  There’s a distinct difference between the look of a Pixar film and an animated film from another studio.  To put it simply, they just care  way  more.

You’ll see the frays in Miguel’s hair as he frolics through a sea of skeletons.  But, the most impressive feat that  Coco contains is the ability to create a magical world around a rarely seen group of people onscreen.   Coco  is proud of the heritage it documents, making you buy in as well.

image via CNET

Dark Themes Make  Coco  One of the Most Mature Pixar Movies Yet

Another calling card for Pixar is its ability to weave in dark themes and story beats within a kid-centric narrative.  We all cried at the beginning of  Up , but  Coco  handles incredibly dark, existential ideas that may be even more thought-provoking.   Coco  literally revolves around the idea of death.  The Day of the Dead is a fascinating way to discuss the memory left by loved ones.  When does someone truly die?  Is it when their mortal life ends or is it when their memory fades away?   Coco  doesn’t pull any punches, creating conversation that may force parents to answer difficult questions at the end of the film.

Coco literally  uses murder and dementia as main story elements, adding layers to this animated tale that would fall laughably flat under lesser talent behind the camera.

image via The Mercury News

Contains Enough Bright Elements to Make it Fun for All Ages

Under different hands,  Coco  could have been a serious downer since death is at the core of the movie.  But, there’s a certain amount of awe-inspiring wonder that directors Lee Unkrich and Adrian Molina inject into the story.  Death in  Coco  isn’t necessarily maligned, it’s celebrated.  Among the skeletons and lossed loved ones is enough heart and childhood wonder to power the story past being a depressing slog.  The music which greatly honors its Mexican roots is so unbelievably charming and fun that death also becomes fun…until you bawl you eyes out from that patented Pixar emotion.

The central character, Miguel, is a lovely, energetic character to follow through this fantastical adventure.  Anthony Gonzalez’s voice work is funny, plucky, and undeniably sweet.

That Pixar charm is on full display throughout  Coco .  You’ll see the typical funny side characters and cute sidekick, but they all add an important piece to the story that is absolutely necessary.  Like any other studio, Pixar has its hallmarks that appear in almost every film they produce.  But,  Coco offers enough clever spins on its formula that make it worthy of being called “original.”

It also doesn’t hurt when you have this adorable dog as a sidekick:

image via Movie Pilot

Final Thoughts

Beautifully animated,  Coco  is another superior entry into Pixar canon , blending lovely kid-friendly elements with intense, thoughtful themes that only the most mature of films attempt to discuss.  However,  Coco ‘s greatest feat may be showing the culture of people that film seldom explores.  For its troubles,  Coco  gets an  A .

If you’re looking for a family-friendly movie for the holidays,  Coco  has everything you’ll need for some solid entertainment .

image via Slash Film

Thanks for reading!  What are your thoughts on Coco?  Comment down below!

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A current young professional in the Richmond, Virginia area, Nick founded MovieBabble in October of 2016 when he was a bored college student with nothing else to do. (And he kicks himself every day that his story isn't better.) Nick is also a member of the Online Film Critics Society, the Internet Film Critics Society and the Washington, D.C. Area Film Critics Association. You can follow him on Twitter @nkush42

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I hope to see it on Tuesday.

You’ll enjoy it!

Liked your review. The movie sounds interesting and telling.

It certainly is! Glad you enjoyed it!

Only seen previews. Over 20+ miles away from nearest theater.☹☹:(:(

Oh yes. can’t see movies unless they’re on television.

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Coco (2017) Parent Guide

Despite some ghoulish imagery, this movie offers a heartwarming tale that explores the importance of family relationships..

The only thing Miguel (voice of Anthony Gonzalez) wants to do is become a musician. But his quest to be like his guitar playing idol Ernesto de la Cruz (voice of Benjamin Bratt) leads him on an unexpected journey that involves a visit to the lively Land of the Dead and an unexpected family reunion.

Release date November 22, 2017

Run Time: 110 minutes

Official Movie Site

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The guide to our grades, parent movie review by donna gustafson.

Miguel (voice of Anthony Gonzalez) comes from a cursed family. It all began when his great-great-grandfather decided to pursue a career as a songwriter and abandoned his wife Imelda and their young daughter Coco. To support herself and child, the deserted woman began making shoes – and that has been the Rivera clan’s occupation ever since. She also banned her descendants from having anything to do with music. Even though that was four generations ago, Miguel is still suffering the effects of her edict – because all he wants to do is become a musician.

It doesn’t help that his small village is also the birth and resting place of one of Mexico’s most famous entertainers, Ernesto De La Cruz (voice of Benjamin Bratt). Miguel has watched all his old movies and even learned to play his songs on a dilapidated guitar he has stashed away in a hiding place at home.

The unfortunate incident does have one fortunate result – it provides a clue to Miguel’s heritage. Armed with this information, the boy breaks into the mausoleum of Ernesto De La Cruz to steal his famous guitar that is on display there. Although his intentions are just to show his closed-minded relatives that they should let him play music, the theft has unexpected and supernatural results.

Suddenly Miguel becomes ghost-like, and he can see the deceased who have come to attend their big party on the only day of the year they are permitted to crossover from the afterlife. He is quickly spotted by his own family members, who take him to the Land of the Dead to figure out how to send him back to the living before the change in his status becomes permanent. The strange circumstances also allow Miguel to confront his great, great grandmother Imelda (voice of Alanna Ubach) and he takes the opportunity to protest her moratorium on musical pursuits. Yet she unrelenting. When he realizes that he needs a blessing to return home, Miguel decides to seek it from a kindred soul that will be more sympathetic to his personal passions. So he turns his back on his relatives and sets off to find his idol Ernesto De La Cruz.

Much of the story takes place in Land of the Dead. While it is depicted as colorful and lively, all the inhabitants are skeletons. This may be frightening for young viewers, especially when much of the comedy comes from literal portrayals of characters losing their heads, dropping their jaws, or having their eyes pop out. They also “arm” themselves during conflicts by pulling off limbs, and their bones scatter and are reassembled after falls.

Along with these somewhat ghoulish images, the plot features a dark villain with murderous intentions. The brief appearance of this bad guy increases the peril faced by the protagonist. Other scary moments include characters fading from memory and becoming dead forever, and large spirit animals that hunt down the runaway child.

Despite this, Coco offers a heartwarming tale that explores relationships in both the roots and branches of a family tree. It shows how the past and present shape a person’s future. Best shared with older children rather than the little tikes, this amazing animation emphasizes the joy that can come from generational ties and reminds viewers of the importance of remembering their ancestors.

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Donna Gustafson

Watch the trailer for coco (2017).

Coco (2017) Rating & Content Info

Why is Coco (2017) rated PG? Coco (2017) is rated PG by the MPAA for thematic elements

Violence: This animation contains some ghoulish and frightening images, along with frequent depictions of silly slapstick antics. Much of the story takes place in the Land of the Dead, so many of the characters are living skeletons. These characters fall apart and then pick up their bones and reassemble themselves: heads are knocked off, arms are pulled off and eyes drop out. These portrayals may frighten young viewers. Characters are verbally and physically threatened, tossed from heights and hunted by mythical creatures. A character has murderous intentions. Deaths by poisoning and being crushed by a large object are depicted. Characters lie, keep secrets, and one breaks into a mausoleum to steals a cherished artifact. Characters are afraid of dying and becoming nothing.

Sexual Content: Mild sexual innuendo is heard. Female characters wear some revealing costumes. Characters hug and kiss.

Profanity: Name-calling occurs.

Alcohol / Drug Use: Characters drink at parties and celebrations. Toasts are made. Alcohol is given as an offering to deceased family members.

Other: This movie depicts a religious holiday honoring deceased family members. An afterlife, spirit animals and mythological themes are portrayed.

Page last updated April 13, 2020

Coco (2017) Parents' Guide

The character Ernesto De La Cruz is an entertainer whose music and movies have caught the attention of all of Mexico. Can fans and admirers be a substitute for family? One of the musician’s famous quotes is: “Seize the moment.” How did this advice apply to his career? What inspiration does Miguel get from that phrase? What kinds of moments are worth seizing? Are there opportunities that might be better let go? How can you tell the difference?

How does Miguel’s family from the past affect his present life? What secrets do the older generations hang on to? What fears do they continue to pass down? What positive things come from their memories and accomplishments? What things, for both good and ill, do you inherit from your family? How can you make conscious choices about the legacy you leave your children?

While Miguel is on his quest, he meets a comical man named Hector (voice of Gael García Bernal) who has a sad backstory. Hector is trying desperately to be remembered on Earth because once a person is forgotten by the living, he/she will disappear forever from the afterlife. How is that similar to what happens to forbearers if they fade from the memory of their descendants? How many of your ancestors are forgotten by you? A desire to find one’s family tree has made genealogical research a very popular pastime. You can start finding your family on a website like Ancestry.com .

Learn more about the Mexican traditional celebration, The Day of the Dead , where family members light their ancestors’ graves with candles, and leave flowers and food offerings.

Dante the dog is inspired by the Mexican Xoloitzcuintli breed. An Alebrije is an animal spirit guide from Mexican folklore.

Loved this movie? Try these books…

If your kids enjoy watching Coco, you can encourage them to read the story. They can start with Coco Little Golden Book and work their way up to Coco: The Junior Novelization by Angela Cervantes and RH Disney.

If you’re inspired by the stellar visual design in this movie, you can learn how to draw it yourself with Learn to Draw Disney/Pixar Coco. If you’d rather learn more than actually draw, you can find a copy of The Art of Coco: Pixar Fan Animation Book by John Lasseter and lee Unkrich.

News About "Coco (2017)"

Coco has a distinctive visual design and a vibrant Mexican cultural setting. If your kids are inspired by it and want to start crafting, here are some websites with suggested recipes and activities:

Disney Family: Have a DisneyWeekend All About “Coco”

Puravidamoms: 10 Pixar Coco Inspired Crafts and Fun Food Ideas

Momtastic: 4 Fun Activities Inspired by Disney Pixar’s Coco

ModernMami: Disney Pixar’s Coco Free Printables and Activities

The most recent home video release of Coco (2017) movie is February 27, 2018. Here are some details…

Related home video titles:.

For a similarly themed film, you can watch The Book of Life . In this story, a contest for the hand of the lovely Maria goes awry when souls from the land of the dead interfere with her two suitors.

There’s lots to choose from if you’re looking for movies that celebrate families. In Onward , two brothers race to complete a spell that will allow them to spend one day with their father, who died 16 years ago. In The Incredibles and The Incredible 2 a family of superheroes work together, despite occasional friction between them. Mary Poppins reminds us that the most important relationships are with our own family members.

Related news about Coco (2017)

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Coco Movie Family Tree Explained

• Miguel's journey through the Land of the Dead reveals the forgotten stories of his ancestors, strengthening his bond with his relatives and unraveling the truth about his great-great-grandfather.
• His great-grandmother Coco is the most accepting among the Riveras and her connection with Miguel is deepened by their shared love for music.
• Miguel's father, Enrique, plays a crucial role in his journey by unintentionally pushing him away, sparking his adventure to the Land of the Dead.

The Rivera family is at the front and center of Disney Pixar’s Coco , and the many generations interacting simultaneously make the 2017 adventure drama's family tree particularly tricky. Happening over the night before the Day of the Dead, Miguel’s initially unwitting journey through the Land of the Dead gives him the chance to interact with many of the Riveras that came before him. However, the most unexpected discovery comes from the search for his long-lost great-great-grandfather, who loved music just like Miguel and left his family to pursue his dream. With Coco 's ending revealing truth about Héctor , the Rivera family tree receives heartbreaking answers to their ancestor's mysterious legacy.

Miguel’s living relatives already span generations, making his story interesting, but those he meets in the Land of the Dead enrich his genealogy even more. With the Land of the Dead working on memories being passed down to descendants, Miguel’s unusual temporary presence there makes him the perfect vessel for Héctor’s story and those of his other relatives that the living Riveras had conveniently forgotten. Ranking high among Pixar's best movies , Coco 's unraveling tale of the Riveras builds Miguel’s family tree bit by bit, strengthening the previously decaying bond between Miguel and his relatives while traveling through decades of betrayals and unyielding love.

Related: Every Pixar Film Without A Sequel

Miguel is Coco ’s protagonist, eager to prove himself as a musician but scared that doing so will alienate his family due to their ban on music. Miguel is the son of Luisa and Enrique , who are expecting what will eventually become his sister Socorro. He is also the grandson of Elena, who runs the shoemaking business originally set up by Miguel’s great-great-grandmother Imelda after her husband left her and Coco to pursue his dream of becoming a musician. It’s because of Imelda’s husband’s assumed betrayal that music is banned among the Riveras, although Imelda’s daughter and Elena’s mother, Coco, doesn't seem to share the family’s hate for music.

Because of this and the lack of conflict between Coco and Miguel, his great-grandmother is one of Miguel’s favorite relatives. Even if she listens more than contributes to Miguel’s stories and shenanigans, Coco is the most accepting among the Riveras, still waiting for her father’s return after decades, even when the rest of the family deliberately tried to forget him. Coco ’s final reveal of Héctor’s truth – that he is actually Imelda's husband and Miguel's great-great-great grandfather – eventually explains what Miguel and Coco connect on such a deep level, which isn’t necessarily the case for Miguel with many of his relatives.

Mamá Imelda

The Rivera matriarch Imelda set up the shoemaking business Miguel’s family still keeps afloat as a means to provide for her daughter Coco after her husband, Héctor, left to pursue music. In the stories the family share, Miguel’s great-great-grandmother appears as a force of nature, which Miguel can ascertain for himself once she meets her in the Land of the Dead. Headstrong and assertive, many of her relatives seem to be afraid of her, including Miguel as she wants to send him back to Earth on the condition he doesn’t pursue music. Mother of Coco and grandmother of Elena, Imelda is finally connected to Miguel through his father Enrique, Elena’s son .

The movie namesake, Coco, is Miguel’s great-grandmother, Elena’s mother, and Enrique’s grandmother . Her relationship with her father was precious to her, and Coco ’s ending showed how she kept all the letters he wrote to her and his torn picture, despite her whole family willingly trying to forget him to spare Imelda’s suffering. Her kinship with Miguel makes even more sense at the end of the movie, as Miguel finds in Héctor the relative closest to him due to their love for music. Furthermore, it’s only thanks to Coco and Miguel that Héctor is finally remembered and doesn’t disappear in the Land of the Dead.

Papà Héctor

Miguel spends a good chunk of Coco believing Ernesto de la Cruz to be his great-great-grandfather. This is because Ernesto's guitar was in the torn family picture, but Coco ’s ending twist eventually highlights how Héctor really was Imelda’s husband, Coco’s father, and Miguel’s great-great-grandfather . Indeed, de la Cruz not only stole Héctor’s guitar and his songs, which eventually brought him fame, but also killed Héctor. This weakened his relationship with the Riveras even more, as they all believed Héctor abandoned them, but in reality he wanted to return but was killed by who he believed was his best friend.

Abuelita Elena

Elena is Miguel’s grandmother and Coco’s only living daughter in Coco . Similar in her stubbornness to Imelda, Elena cares deeply for her family but is also a staunch enforcer of the music ban Imelda issued decades before, which puts her in conflict with Miguel more than once. Indeed, Elena breaking Miguel’s handmade guitar eventually leads him to run away on the Day of the Dead. This action kickstarted his whole adventure due to the hurt she unwittingly caused Miguel by wanting him to follow his family rather than his own wishes. Miguel’s grandmother on his father’s side, Elena has two other adult children, Berto and Gloria, and multiple nieces and nephews.

Related: Every Upcoming Pixar Movie & TV Show

Luisa is Miguel’s mother and Enrique’s wife, who throughout Coco is expecting her second child. Seemingly more understanding of Miguel’s wishes to pursue music, as she doesn’t oppose the idea as staunchly as Miguel’s father, Enrique, and the rest of the Riveras, Luisa is shown as part of the family business. On the Day of the Dead following the events in Coco , her daughter Socorro is born , and she’s shown participating in the celebration by fully supporting Miguel’s passion for music along the rest of the Riveras.

Papá Enrique

Elena’s son and Coco’s grandson, Enrique is Miguel’s father in Coco . Brought up following Imelda’s values and direction, he fully believes in the music ban and thinks involving Miguel in the family business might stop what the Riveras view as Miguel’s rebel phase in his intent to pursue music. However, his refusal to understand Miguel’s wishes to know more about Imelda’s husband unintentionally pushes Miguel away, launching his trip to the cemetery that leads Miguel to the Land of the Dead.

Berto Rivera is Elena’s son, Enrique’s brother, and Coco’s grandson . Berto is deeply involved in the family business, often acting as Elena’s right-hand man in Coco , espousing great-grandmother Imelda’s directives and trying to stop Miguel’s impulse to pursue music along with his mother Elena. Berto is married to Carmen and has multiple sons and daughters, including Miguel’s cousins who briefly appear in the Pixar animated movie Coco .

Julio is Coco’s late husband, Imelda’s son-in-law, and Elena’s father. Meeting Miguel in the worst possible way as his great-grandson crashes into him, Julio is shown as an integral part of the Riveras . Indeed, not only he is on the Riveras’ ofrenda in Coco , but his sister Rosita also is, showing how the Riveras included their extended family in the shoemaking business.

Tía Victoria

Practical and uncompromising, Victoria meets Miguel after he bumps into Julio, stopping their visit to the Rivera’s ofrenda because of Miguel’s half-dead state. Victoria is Elena’s only sister , Coco and Julio’s daughter, and Imelda’s granddaughter. Elena remembers her as hardworking at crafting sandals, something she hopes Miguel will also be once he joins the family business.

Julio’s sister and Coco’s sister-in-law, Rosita is the first to recognize Miguel at the cemetery. It’s thanks to her quick thinking that Miguel gains access to the Land of the Dead, making it possible for him to reunite the Riveras and share the true story of what happened to Héctor.

Related: Coco Secretly Hid Pixar's Most Surprising Adult Easter Egg

Tío Oscar & Tío Felipe

Oscar and Felipe are the t win brothers of Imelda and Coco’s uncles . The two are not only part of the Riveras’ ofrenda but also seem to spend most of their time in the Land of the Dead with their sister Imelda and their descendants. Their fighting skills prove fundamental in defeating Ernesto de la Cruz during Coco ’s ending.

Miguel's Other Uncles, Aunts & Cousins

Some of Miguel’s relatives are shown in Coco without being properly introduced in the Disney Pixar movie. Coco ’s director Lee Unkrich shared the names and ages of Miguel’s cousins Abel and Rosa on Twitter, who briefly appear in the movie while making fun of Miguel because he wanted to enter the talent competition in the square. Other relatives like Elena’s husband Franco, Enrique’s sister Gloria, and Abel and Rosa’s younger brothers Benny and Manny are also briefly shown, but they don’t have a big role in Coco ’s plot, appearing only with the rest of the family.

Source: Lee Unkrich/Twitter

Summary: Despite his family’s generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector, and together, they set off on a journey to unlock the real story behind Miguel’s family history.

Release Date: 2017-11-22

Cast: Gael Garcia Bernal, Alanna Ubach, Anthony Gonzalez, Selene Luna, Jaime Camil, Edward James Olmos, Renee Victor, Sofía Espinosa, Benjamin Bratt, natalia cordova-buckley, Alfonso Arau

Director: Adrian Molina, Lee Unkrich

Genres: Family, Animation, Adventure

Writers: Adrian Molina

Runtime: 105 minutes

Budget: $175–225 million

Studio(s): Disney

Distributor(s): Disney