Critics are fast running out of superlatives to describe the filmography of Pixar Animation Studios. Every release by the company, especially of late, has possessed a rousing soundtrack, heartfelt screenplay, top-notch voice-acting and of course, computer-generated imagery beyond compare, almost to the point of conformity. That all changes with this production, and for the better.
Toronto resident Meilin Lee (Rosalie Chiang) is on the verge of adolescence, lusting after boys she ordinarily wouldn’t and engaging in activities that draw the disapproval of her otherwise doting mother, Ming (Sandra Oh). But puberty is not the only drastic change the youngster is having to contend with – now that she’s a teenager, Mei finds herself transforming into a giant red panda whenever her emotions are heightened, a source of embarrassment greater than any other in her life.
The driving force behind Turning Red is writer-director Domee Shi who, just like Mei, is a proud Torontonian with Chinese heritage. Shi’s career trajectory is more interesting than most, having joined Pixar as an intern before garnering widespread acclaim with her allegorical short film Bao . After this success, Shi was promoted to Pixar’s “Brain Trust” and given the opportunity to craft her own feature-length production; in turn, the film-maker has concocted the most energetic, inimitable Pixar movie yet.
The most distinguishing element of Turning Red is the art-style. While there are shades of Pixar’s influence in the design of the characters and settings, the look of the film is distinct from any of the studio’s previous releases, a change that is most welcome. Soft colours dominate the architecture of Toronto, and clothing of those who inhabit its surroundings; humans of all sizes and body types interact with one-another, while their faces are adorned with large teeth and pupils that comically dilate or contract depending on their mood.
The animation too is a point of difference from other Pixar films. Where in the past, a character would move smoothly and gracefully – one could even say “realistically” – in Turning Red, the movement of the protagonists is quick and frenzied, welcomely leading to some well-timed physical gags that border on slapstick. Adding to this witty and frantic vibe is the editing, which occasionally employs some Edgar Wright-style quick cuts to further discern the picture from its contemporaries. Yet the differences go even deeper than that.
Further distinctions are found in the screenwriting, which matches the vibrancy of Turning Red’s visuals. The plot is narrated in the first-person by a self-aware figure who frequently breaks the fourth wall and wears her geekiness with pride, forgoing the usual stereotype of an introverted, awkward teenager; likewise, her friends are eccentric, outgoing and unashamedly nerdy, offering the perfect social and moral support – another rarity in coming-of-age tales. Additionally, it’s a tale that feels quite timeless, despite the film’s early-2000s setting.
Yet for all the freshness this script provides, it is stymied by the occasional flaw. One such example is the antagonistic Tyler (Tristan Allerick Chen), who is underwritten and poorly developed – efforts made by the film to complexify and soften his character are tame at best and confusing at worst. Another letdown is the third act, relinquishing the vim and momentum present elsewhere in Turning Red, slowing events to an underwhelming conclusion, and providing a left-field revelation about Tyler that bears no relevance to the conflict.
The one upside to these blemishes is that they aren’t a common sight in Pixar’s filmography, offering further proof that the team at Emeryville are no longer adhering to a formula or norm. Between this flick and Luca, it looks as though Pixar is shying away from being a safe, comfortable brand and instead following the route of its fellow CGI powerhouses, DreamWorks and Sony in taking risks -– they’re hiring new people, toying with different art-styles and telling more diverse stories.
Turning Red heralds a promising future for Pixar Animation Studios, providing the medium with a fresh and distinctive voice in Domee Shi. Viewers will find themselves drawn to the quirky characters, original story, lively animation and bright illustrations of a stylised Toronto, making for an entertaining and resonant experience regardless of one’s background.
This review was first published by Rating Frames on June 1st, 2022.