.jpg "Elemental review: Has Pixar lost its touch of genius?")
Ember’s upbringing and her parents’ refugee background have instilled in her a siege mentality. She has zero tolerance for nonsense at the Fireplace, her family’s store, which she is set to inherit from her father, Bernie. However, Ember struggles to maintain her composure amidst the challenges of managing the shop. Bernie will only pass on the store to her if she can control her volatile temper.
One day, Ember’s outburst causes a water pipe in the shop’s basement to burst. Out of the pipe emerges Wade, an inspector from the city’s municipal services. Concerned that this incident might lead to the closure of the store, Ember chases after Wade in hopes of appealing to his sympathy and having the penalty removed. Although she is unable to stop him from filing the report, there is a glimmer of hope when Wade’s superior, known as “Gale Cumulus,” gives them a deadline to fix the leak and determine the source of the problem.
As they race through the city, encountering a series of dilemmas and missions, Ember and Wade, despite their differences, begin to overcome their physical barriers and prejudices, ultimately developing an unlikely romance.
“Elemental” fails to ignite the same spark that once characterized Pixar films. During its heyday, Pixar was renowned for creating cinema experiences that were inspired, emotional, and hilarious. However, Director Peter Sohn’s latest film falls short of that mark.
On the surface, “Elemental” bears similarities to “Inside Out,” Pixar’s beautifully inventive exploration of human emotions. Yet, while “Inside Out” masterfully incorporated metaphors, “Elemental” seems more preoccupied with wordplay derived from its elemental concept. The film fails to convincingly tell a solid and engaging story about two characters on a transformative journey, and the romance that blossoms between them feels forced and unearned.
Although opposites attracting is a classic trope in romantic comedies, “Elemental” lacks the necessary humor to justify that label. Additionally, by emphasizing Wade’s watery personality (resulting in constant crying), the filmmakers strip the character of any depth or substance. Instead, the film relies on a barrage of puns and visually appealing imagery.
While the idea of fire and water learning to coexist is intriguing, the lack of substantial development between the two characters makes it difficult to sustain interest throughout the entire film. Instead, viewers are treated to an abundance of wordplay and visually stunning scenes.
It is unfortunate that the central dynamic between the characters detracts from what could have been a groundbreaking film about the power of nature, similar to how “Inside Out” explored emotions or how “Finding Nemo” portrayed ocean life. Apart from the clever linguistic gimmicks, “Elemental” lacks genuine humor. Instead of engaging audiences, the film relies on swelling music (composed by the talented Thomas Newman) to elicit emotional responses.
Overall, “Elemental” falls short, delivering a mediocre experience. For a studio that has consistently pushed the boundaries of emotional storytelling in animation, this film falls disappointingly flat. In its opening weekend, “Elemental” performed poorly in the US, earning only $30 million against a budget nearly seven times larger. This film stands as one of Pixar’s worst-performing ventures. It is clear that Pixar must rediscover the conceptual brilliance that made it a household name.
Two stars.
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