This sequence might scare younger or older audiences alike

Pixar's "Soul" follows a jazz pianist who experiences a near-death experience and is trapped in the afterlife, pondering his options and lamenting the existence he takes for granted soul review. Pixar veteran Pete Docter is a noted co-director who, along with playwright/screenwriter Kemp Powers, wrote Regina King's landmark "Miami Nights." Despite the heavy theme, the style of this project is light. Musicians might liken "soul" to an extended improv or a five-finger etude, which is very much in the spirit of jazz, an art that focuses on improvisation, every time Joe or another musical character starts, on screen Play is presented above with honor and precision.

This is not where one would expect a children's movie to start. Even "Bambi" doesn't kill its protagonist before the opening scene. However, "Soul" hardly plays by the rules. Frankly, it's probably not a children's movie, although its direct release on the Disney Plus subscription service on December 25 (in the midst of a second wave of COVID-19) suggests the studio is treating it that way. Joe's death isn't terrible, but it does require younger audiences to acknowledge the issue of death in a way that few films dare. He then went on to dub, although "shape" might be a more accurate word, his understanding of what happened before and after people lived on Earth.

An hour into the movie, Joe and his mother (Phylicia Rashad) have another beautiful moment in their conversation about chasing dreams, even if they might fail.

I wish the movie would focus more on that relationship and Joe's own life than his encounter with the 22-year-old.

Overall, the film has a positive message about not taking life for granted. "Alma" reminds us that the goal is not just to chase the dream, but to slow down and enjoy the simple things life has to offer, whether it's touching a toe in the sand or taking a bite of your favorite cake.

Just before the dust settles, Joe gets his big break, winning a chance to improvise with jazz legend Dorothea Williams (Angela Bassett) at the Half Note Club. For most of Joe's life, he just wanted to be a musician. That's fine, too, given what we know about improvisation here: in class, in rehearsal, and later, in the solitude of his own apartment. So it's no surprise that he finds himself horrified to find himself on a conveyor belt through the Great Beyond, the empty space where Docter and production designer Steve Pilcher imagine belated souls enter before they're forgotten.

Again, this sequence might scare younger or older audiences alike, though the movie takes it lightly, having Joe (the only soul who has any doubts about the afterlife) fall off an escalator and travel through several dimensions Arrive at the Great Before, a place more like Elysium, with lilac skies and periwinkle, where the laughing spirit, vaguely resembling the friendly ghost Casper, prepares for Earth.