Like Lilo & Stitch, Elio is about an orphaned outcast who befriends an alien and has a parental figure who wasn’t ready to be a parent. Unlike a certain live-action remake, though, Elio doesn’t just repeat the same story we’ve heard before. The film has a charm that’s all its own, only getting better as the heartfelt plot unfolds. In some respects, the film shouldn’t work. Beyond the Lilo & Stitch comparisons, Elio calls to mind several other animated films with overused tropes like the liar revealed, the overbearing father, and misunderstandings. Yet, just as Pixar did with Coco, we’re so invested in these people that it’s as if we’re experiencing these beats for the first time.
Adrian Molina, Coco’s co-director, was originally at the helm of Elio. Domee Shi (Turning Red, Boa) and Madeline Sharafian (Burrow) would ultimately take over, with Molina still retaining a directing credit. The shifting creative hands provided another reason to go in with doubts. Watching Elio, though, you don’t get the sense there were too many cooks in the kitchen. Whatever changed between its conception and completion, the final product is consistently funny, creative, and touching. In an age when audiences are mainly flocking to sequels, Elio might not be a hit out of the gate, but like Elemental, it deserves to find an audience over time.
Yonas Kibreab voices young Elio, who has been acting out ever since his parents suddenly died. He’s left in the care of his aunt Olga (Zoe Saldaña), who has put some of her aspirations on hold to take care of her nephew. Elio still finds himself eating alone most nights. When Olga is around, Elio struggles to connect with her. Of course, Elio struggles to connect with all other humans, longing to be abducted by aliens. Elio gets his wish when his message is intercepted by the Communiverse, an interplanetary federation that mistakes him for Earth’s leader.
Elio’s little fib snowballs when he gets caught in the web of Lord Grigon (Brad Garrett), a worm-like alien who suits up in hulking, crab-like armor. Think Henry J. Waternoose from Monsters Inc. crossed with Emperor Zurg. Grigon also has a young son named Glordon (Remy Edgerly), who manages to be simultaneously grotesque and adorable. In a film wall-to-wall with visual splendor, Glordon might be the most impressive feat of animation. Despite having no eyes, Glordon manages to be the most expressive character with his eyebrows alone telling a story. Elio also gets much across even with an eyepatch covering half his face for most of the film.
While the setup sounds familiar, Elio is distinguished by its inventive world and relatable characters. By the climax, I was surprised by just how wrapped up in the story I was. The film could’ve gone one small step further. There’s a particular moment during the third act between Elio and Olga that had me ready to unleash the waterworks. This scene needed to play out a little longer to reach its emotional apex, however.
For a film that’s supposed to be about Elio learning to connect with people, the story could’ve spent more time on our planet. Outside of Elio and Olga, the other humans feel underdeveloped compared to the aliens. Even Olga could’ve used one more scene fleshing out how losing a sibling has impacted her. Elio thus falls short of being a top-tier Pixar classic, but it’s still a wonderful film that explores grief, isolation, and family in ways all ages can identify with. It’s the cinematic equivalent of a hug, letting the audience know that they aren’t alone in the universe.