Onward (2020) - 8/10
Onward is a film I wish wasn’t part of Pixar—a feeling I get more and more often. Pixar has done a tremendous amount for animation and film in general, but its reputation comes with baggage. Sadly, I think Onward doesn’t fit the Pixar mold closely enough, which causes it to be treated like a bit of a black sheep. I can’t help but wonder if, free from the expectations of selling merchandise or appealing to every kid, this film might have had more room to breathe. And don’t get me wrong—the film doesn’t necessarily do itself any favors by introducing so many niche concepts—but another studio banner may have made things a bit easier on it. Let’s jump into the rubric and see what this black sheep has to offer.
1. Acting
Disney, likely trying to capitalize on the popularity of some of its bright Marvel stars, brought in Tom Holland and Chris Pratt to serve as the voice leads for this film. Despite the more boyish quality of his voice, I find Holland a bit lackluster here. I can’t point to anything too specific, but it feels like he doesn’t have the same level of confidence in his voice-over work as he does in live action.
By contrast, Chris Pratt feels very much at home. In a performance that harkens back to Andy with just a dash of Star-Lord, Pratt does well bringing Barley to life. Perhaps the only downside—and this is a gripe I have with many voice performances—is that Barley feels more like Chris Pratt than an entirely distinct character. At least with Holland, the awkwardness of Ian feels a bit more authentic.
Of all the voice work, Octavia Spencer probably delivers the strongest performance in the film. I genuinely didn’t recognize her until the end credits, and her exuberance and energy bring a lot to one of the film’s subplots. A close second is Mel Rodriguez as Colt Bronco, the centaur police officer dating Ian and Barley’s mother. He, too, feels more like a fully realized character than a celebrity voice, and his stepdad energy is spot-on.
2. Cinematography
Despite many feeling that Toy Story 4 should never have been made from a story perspective, it undeniably showcases how far digital animation had come—particularly in its use of lighting. Onward came out within a year of Toy Story 4 and clearly benefited from lessons learned on Pixar’s flagship property. While it may not look quite as sharp, the lighting choices make the animation pop. The fantasy setting also allows the visual design to shine, and the depiction of magic throughout the world looks fantastic.
Beyond that, the digital camera work is energetic and does what great animated films do best: place the camera anywhere imaginable. The highway chase scene is the clearest example. The nighttime setting is well lit despite the chaos, and the frequent perspective shifts and kinetic camera movement build energy and tension effectively.
3. Production / Costume Design
One of the strengths of animated films—and something Pixar usually excels at—is the ability to build worlds rich with detail. Because imagination, rather than budget, is typically the limiting factor, animators can carefully craft both large-scale environments and small background details. Onward is no exception, and it arguably takes a more difficult path than most.
The film’s fantasy/D&D-inspired setting offers endless aesthetic possibilities, but it’s also a niche inspiration that few animated films have attempted. On top of that, the filmmakers opted for a three-pronged approach: crafting a fantasy world, blending it with modern-day aesthetics, and then filtering everything through Pixar’s stylized visual language.
This approach is evident in the character designs. Take Colt Bronco, for instance. He’s first and foremost a centaur—one of the most iconic fantasy creatures. Pixar “Pixar-ifies” him with humorous proportions and a family-friendly design, then grounds him in the modern world with a police uniform, beer belly, and classic mustache that fits both his authority figure role and his stepdad vibes. It seems simple on paper, but it’s clearly the result of extensive iteration and thoughtful concept design.
The attention to detail is perhaps most apparent in the environments. A brief gas station scene perfectly demonstrates the dedication of the animation and production teams. A group of motorcycles pulls in with no visible riders, only for it to be revealed that they’re piloted by a biker gang of pixies. Traditionally mischievous and small in stature, the pixies’ tough-guy biker aesthetic subverts expectations—especially when paired with their bright pink designs.
Inside the station, the shelves are filled with clever visual gags: a soda machine branded “Cloak & Cola,” Wild Boar Stix replacing Slim Jims, and gas pumps using classic fantasy-style fonts. The scene culminates with Barley getting into an argument that ends in a biker downing a Pixie Stick. This layering of large and small details is constant throughout the film and results in genuinely effective, fun world-building.
4. Writing
On the surface, this is a fun take on the hero’s journey. The fantasy genre—and D&D in particular—is built on mythic quests, and Ian is positioned as the primary protagonist. He’s thrust out of his comfort zone on a high-stakes mission to resurrect and meet his deceased father. Along the way, he faces trials, receives mentorship from his quest-loving brother, and learns lessons about confidence and self-worth. That alone would have been sufficient for a family-friendly movie.
However, the writers have a powerful trick up their sleeve.
Most film twists rely on withholding information to surprise the audience. Onward instead uses the structure of a twist to deliver an emotional payoff. The film is framed entirely as Ian’s journey: he receives the magical staff, possesses the ability to wield magic, and is positioned as the one who will meet his father. Barley, meanwhile, is portrayed as the bumbling older brother who gets in the way.
As the film approaches its climax, the writers reveal the truth. Through reflection and flashbacks, Ian realizes that although he never met his father, Barley has always filled that role. Suddenly, the narrative recontextualizes itself: this was never Ian’s quest—it was Barley’s. Barley’s arrested development stems from losing his father young, and from being too afraid to say goodbye when he had the chance. The quest’s conclusion allows him to finally do so.
It’s an emotional one-two punch that resolves two character arcs simultaneously, subverts expectations, and delivers a deeply earned payoff. Terrific narrative design.
5. Sound Design
The score, composed by Mychael and Jeff Danna, serves as a solid backdrop to the hero’s quest. It’s a mostly serviceable composition that fits the fantasy setting well, incorporating lutes, harpsichords, and other genre staples. You probably won’t remember much of it after the credits roll, but not every Pixar film needs a sing-along or a track that embeds itself in kids’ brains like toddler crack.
The rest of the sound design benefits from blending fantasy elements with real-world audio cues, helping ground the setting without becoming overly whimsical or intrusive.
6. Editing
At just over 100 minutes, the pacing is strong and the edit is easy to follow. The film’s greatest editing strength lies in setting up the emotional payoff without revealing its narrative hand too early.
7. Visual Effects
Many of these elements overlap with production design, but it’s worth highlighting how well the magic effects are executed. The spells are visually distinct, narratively clear, and culminate nicely in the final confrontation as Ian exhausts his newly acquired abilities against the dragon.
8. Originality or Strength of Adaptation
While Onward wasn’t the first modern depiction of fantasy or D&D elements, it was at the forefront of their resurgence. Unlike Stranger Things and similar projects that borrow selectively, Onward fully commits to the setting and lore. Its family-friendly interpretation recalls fantastical kids’ films from the ’80s and ’90s like The NeverEnding Story, The Pagemaster, and The Goonies.
9. Stunt Coordination
The action design is strong in bursts and complements the fantasy setting well. The highway chase scene stands out, but smaller moments are scattered throughout the runtime. The Weekend at Bernie’s-style choreography of the father’s half-body is especially effective, enabling both comedic and emotional beats. The final dragon battle serves as a satisfying culmination of the film’s narrative and mechanical elements.
10. Direction
Dan Scanlon, over his 21-year Pixar career, worked in many roles, but only directed two features: Monsters University and Onward. His collaborative background seems to be the film’s greatest asset. Scanlon has said he wasn’t personally into D&D, but recognized its storytelling utility. The clear love for fantasy on display likely came from the broader creative team, and his ability to unify those influences into a cohesive vision is why the film works.
Legacy / Final Thoughts
I’m tempted to score this film higher than I currently do, though I wouldn’t claim enough breadth in animated film knowledge to elevate it above Pixar’s very best. Still, Onward deserves a stronger place in the Pixar pantheon than it currently occupies.
COVID undoubtedly hurt the film’s theatrical run, as it was one of the last major releases before the pandemic’s peak. Its box office performance reflects that timing. Internally, its niche appeal also made it a risk compared to Pixar’s broader crowd-pleasers.
Ultimately, whether due to COVID, the burden of being a Pixar release, its obscure inspiration, or some combination of all three, Onward has become a lost Pixar film. It’s not revered like Toy Story, nor does it benefit from early-era nostalgia like the Cars franchise. That leaves one lingering question: how different might its legacy be under another studio banner—or without pandemic interference?
We’ll never know. But for those paying attention, Onward is a fresher-than-average family film with strong writing and a genuinely worthwhile concept.
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