It has been a tough grind for once-vaunted Pixar. After their “Golden Age” (1995-2010, excluding anything related to talking cars), Pixar has been inconsistent at best (Soul, Inside Out 2, and Turning Red) to substandard at worst (Onward, Lightyear, and Elemental). In this way, they somewhat resemble their partner/distributor Disney, which has seemingly forgotten how to produce outstanding animation features over the past few years.

Pixar was generally known for two things during its heyday: the most advanced animation technology available and excellent storytelling that involved complex characterizations. Nothing was simple (or simplified) in a Pixar “cartoon.”

Now we have Pixar’s latest feature film entry, Elio. It’s difficult to claim this film as a renaissance. The story of a misfit orphan whose most fervent wish is to be abducted by aliens, Elio has the depth of a kiddie pool and emotional complexity reduced to a well-worn theme continually reinforced. Not only that but the theme is reinforced by having parallel storylines.

Elio, an alien-obsessed nerd and a bully magnet, is an orphan now under the care of Air Force Major Aunt Olga, who despairs at the boy’s quirky ways. Elio uses a device belonging to Gunther Melmac, a volatile technician at the AFB, and contacts aliens, who beam the young misfit up. Elio is now aboard the Communiverse, a center for the universe’s many ambassadors. The lad is mistaken for the leader of Earth. When the assembly of ambassadors cowers before Lord Grigon, a nasty warlord who is angry over his rejection by the Communiverse, Elio offers to negotiate with him.

It doesn’t go well, and Elio is imprisoned. During his escape, he encounters Grigon’s son, Glordon. After taking a liking to each other, they escape Grigon’s ship and get to the Communiverse, where Elio offers to return Glordon in exchange for Grigon’s promise to leave the Communiverse alone.
Elio and Gordon form a bond that sets the theme of the movie so that the viewer has no doubt where things are headed: Elio feels misunderstood by his aunt, and Gordon, a playful sort, does not want to become a warlord like his Father.

The new pair treats the Communiverse like a playground/theme park (we never really see any diplomatic functions on this ship; it seems to be constructed only for the two friends’ wish-fulfillment and amusement).

The final third of the film follows, which is busy and convoluted, featuring clones of the two leads and improbable science fiction, including a seemingly vulnerable space pod that should be battered to bits. Ham radios perform functions that seem patently impossible, and the old “character-who-seemingly-dies-returns-to-life-through-the-power-of-love” schtick.

As a late-era Pixar film, Elio’s ending is thoroughly predictable, and even a spoiler would be redundant here, so I won’t provide one.

Adrian Molina, who worked on story. Molina based the coming-of-age tale on his childhood as an alienated young boy growing up on a military base. Madeline Sharafian and Domee Shi co-directed.
Elio, the 11-year-old lead, is voiced by Yonad Kibreab. Elio himself is neither as well-designed nor emotionally complex as Russell from Up. For most of the pic, he’s a kid on a lark, and Kibreab plays him that way. Zoe Saldaña, as Aunt Olga, is solid as a concerned parenting figure. Brad Garrett does well enough as Lord Grigon, but there is never the sense that he is the serious threat he claims to be. By the end, Grigon is a cuddle-bunny. Brendan Hunt plays Gunther Melmac, an Air Force tech who seems far too hyper and flighty for his job. Finally, among the principal cast, Remy Edgerly portrays Glordon, who bears no resemblance to anything as much as a happy tomato worm, and he does a great job of selling Glordon as a warm, likable character.

The animation, courtesy of the powerful Luna lighting and animation software under the supervision of the ever-reliable Harley Jessup, wows at every turn. I saw the pic in 3D, and there seemed to be something resembling overlapping fields of 3D in deep focus in some scenes. Elio was filmed using an anamorphic lens that enhanced these effects. The luminescent colors that define the settings and alien characters are also stunning.

In short, this is a children’s movie that never aspires to be anything more than that. It’s great fun for the 12-and-under set but will have limited appeal for those who hunger for the days of Wall-E, Ratatouille, Up, Finding Nemo, or even Soul. For all its technical wonders, Elio is hardly a return to glory for Pixar.