“Onward,” the latest Pixar offering, feels like a regression in quality

Despite some positive aspects, the new Pixar film, Onward, falls short on multiple fronts.

Onward, directed by Dan Scanlon, is heavily influenced by Dungeons & Dragons, a role-playing game that became a sensation in the late ’70s during the oil crisis. It generated over $2 million for its publisher, with people seeking escapism from the real-world energy crisis, envisioning themselves casting spells instead of worrying about fuel shortages.

The film unfolds in a universe inhabited by various fantasy creatures, where a D&D-like game called Legends of Yore plays a significant role. This game, as described by one of the main characters, Barley (voiced by Chris Pratt), is a reflection of a time before technological advancement made magic obsolete, much like the way rotary phones became outdated in our world.

Ironically, Onward takes a regressive approach to its storytelling. The plot revolves around Barley and his younger brother Ian (voiced by Tom Holland), who embark on an epic quest to temporarily reunite with their late father using dormant magic. While the concept appears somewhat morbid and unorthodox, it sends an unusual message: it’s more acceptable for young men to pursue dragons than to process their grief through professional help.

When not looking to the past, the film seems to borrow elements from the Marvel Universe, as both Holland and Pratt’s characters bear strong resemblances to their Marvel roles.

While the film places great emphasis on world-building and draws humor from how its fantastical world reflects our own (e.g., winged unicorns rummaging through garbage like raccoons), it draws comparisons to animated films that explored similar themes more effectively, such as 2016’s Zootopia. For a studio like Pixar, a subsidiary of Disney, which is known for leading the way in animated cinema, Onward feels more like part of the crowd, despite being Pixar’s first original film in years.

Relationships, usually a Pixar strength, lack depth in this film. The mother character, voiced by Julia Louis-Dreyfus, primarily serves as support for her sons and isn’t given an opportunity to exist independently of them. When Ian suggests that Barley should strive for more in life, it’s treated as Ian’s flaw, rather than a fair assessment of his brother’s emotional growth stagnation.

The film raises questions about representation. Key characters, a centaur police officer and a Manticore theme restaurant manager, are voiced by Mel Rodriguez and Octavia Spencer, both actors of color. There’s also a brief introduction of a female cyclops cop voiced by Lena Waithe, who mentions raising children with her female partner, marking a notable step forward in family-friendly animation. However, it leaves viewers wishing that these character identities were more integral to the core narrative instead of merely checking diversity boxes.

Onward explores the theme of magic fading in the face of technology, which could resonate deeply in today’s digital age. Yet, the film fails to commit to this theme and, instead of challenging or captivating the audience, it comes off as another visually appealing piece of content, satisfying our appetite for eye candy.

In Dungeons & Dragons terms, it’s an option that most true cinematic adventurers would avoid, even with a ten-foot pole.

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