As a Mexican immigrant, Pixar’s latest offering, “Coco,” touched my roots and in many ways felt like it was made just for me. Set during El Día de los Muertos, the film provides dignified insight into the connections that bind family between life, death and all things in between.
Young Anthony Gonzalez stars as Miguel, a boy who dreams of becoming a musician following in the footsteps of his hero, Ernesto de la Cruz. Unfortunately, music has become banned in his family, due to a secret long-held through generations before him. In an effort to demonstrate his passion for music, Miguel steals a guitar and is cursed to the Land of the Dead. To return to his living family, Miguel must traverse the Land of the Dead and receive his ancestors’ blessing by reminding them of the value of music.
Having worked with him on the upcoming “Icebox,” I can personally attest to Gonzalez’ natural acting talent as Miguel. He lends “Coco” a genuine charm and innocence well beyond his youth while carrying the majority of the film on his shoulders.
Miguel’s companion, Hector, is another standout. Gael García Bernal effortlessly balances a dazzling intrigue with the compelling desperation of a worn-out man on the cusp of being forgotten forever.
The many supporting voices encompassing Miguel’s living and ancestral family deserve special praise as well. Somehow, “Coco” perfectly captures the Mexican familial essence and atmosphere. From a grandmother’s wonderfully smothering love to the slogging antics of crossing between borders when visiting family, the essence of Mexican kinship is captured marvelously. Although the film is mostly in English, the script flawlessly integrates interjections of occasional Mexican slang.
This authentic presentation makes up for a story that’s not particularly new or imaginative. The trek through the Land of the Dead is visually stunning — it may be Pixar’s best-looking film — but basic. A few scenes of middling importance, including a music contest and an encounter with a famous artist, especially hurt the film’s irregular pacing.
The film’s comic relief also felt off. Unlike the tastefully refined wit of most Pixar films, a lot of the humor in “Coco” felt like it pandered a little too much to a younger audience. The plenteous skeleton gags offered little beyond surface-level humor and got tiresome very quickly.
Thankfully, the film really picks up in its third act. Some ingenious narrative choices converge into gut-punching payoffs that floored me emotionally until the credits rolled. As someone that experienced a death in the family for the first time recently, I was moved by the dignified approach “Coco” took with such a rough subject matter.
Though it’s a bit weak in its narrative, the beautiful visual, cultural and emotional vibrancy of “Coco” won me over well.
B+
Hector Valverede is a culture reporter for the Daily Lobo. He primarily writes movie reviews. He can be contacted at culture@dailylobo.com or on Twitter @hpvalverde.
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