Onward

There is a specific, bittersweet brand of bad luck reserved for the movie that hits theaters exactly seven days before a global lockdown. Released in March 2020, Onward didn’t just premiere; it collided with reality. For many of us, it was the final bucket of overpriced theater popcorn we shared before the world shifted to sourdough starters and sweatpants. Because of that timing, Pixar’s 22nd feature film has transitioned into a strange sort of "Lockdown Cult Classic"—a movie that missed its box office glory but became the ultimate digital hug for families stuck on their couches.

I watched this for the first time while trying to fold a fitted sheet—a task that ended with me crying into a pile of wrinkled cotton and giving up entirely. It turns out that a story about two brothers trying to spend one more day with their late father is the exact kind of emotional napalm you don't want to handle while dehydrated.

Magic in the Age of Convenience

Onward gives us a suburban fantasy world that feels pointedly contemporary. It’s a place where elves use smartphones, centaurs have forgotten how to gallop because they own SUVs, and unicorns are essentially "trash pandas" digging through bins. It’s a hilarious, slightly cynical reflection of our own world, where we’ve traded the difficult, "magical" way of doing things for the ease of an app.

The story follows Ian Lightfoot (Tom Holland), a socially anxious teen, and his chaotic older brother Barley (Chris Pratt), a historical nerd who drives a beat-up van named Guinevere. When Ian turns 16, their mother, Laurel (Julia Louis-Dreyfus), gives them a "visitation spell" left behind by their father. The catch? They only manage to bring back his legs. What follows is a classic road trip adventure to find a second "Phoenix Gem" before the 24-hour clock runs out.

Barley Lightfoot is the most accurate depiction of a "nerdy older brother" in cinematic history, right down to the patched denim vest and the obsession with tabletop gaming. He’s the heart of the film, and Chris Pratt brings a surprisingly grounded vulnerability to a character who could have easily been a one-note caricature of a basement-dweller. Meanwhile, Tom Holland does what he does best: playing the lovable underdog who discovers he’s capable of more than he thought.

The Adventure of the Van and the Manticore

The "Adventure" genre is all about the journey, and Onward nails the feeling of a quest. I love how the film treats "Quests of Yore" (a fictionalized D&D-style game) as actual historical fact. The world-building is layered with enough detail to keep your eyes darting around the screen. Apparently, the production team went deep on the fantasy tropes, even hiring a "fantasy consultant" to ensure the spells felt linguistically consistent.

The standout sequence involves The Manticore (Octavia Spencer). Seeing a legendary, soul-devouring beast reduced to a stressed-out middle manager at a family-friendly themed restaurant is the most relatable thing Pixar has ever put on screen. The Manticore is the best character Octavia Spencer has ever played, and I will fight anyone in a Denny’s parking lot over this. Her transformation from "corporate drone" back to "warrior legend" is the kind of character arc that makes the adventure feel earned.

The film also subtly pushed representation boundaries for Disney. Officer Specter (Lena Waithe) became the first openly LGBTQ+ character in a Pixar film. While her mention of a girlfriend was brief, it was enough to get the film banned in several countries—a reminder of the social friction that contemporary cinema still navigates even in its "family" offerings.

Why the "Cult" Status Fits

While it didn't have the $1 billion box office of Toy Story 4, Onward has a passionate following because of its ending. Without spoiling it, the film makes a very brave choice regarding the "reunion" with the father. It’s a subversion of the typical Disney wish-fulfillment that feels more honest and mature. It’s a movie about the families we have, not just the ones we’ve lost.

There’s some great trivia for the eagle-eyed fans, too. Director Dan Scanlon (who also gave us Monsters University) based the premise on his own life; he and his brother lost their father when they were toddlers and only had a short audio clip of his voice. That real-life "audio tape" makes it into the film, and if you listen closely, you can hear the raw emotion in the writing. Also, the van "Guinevere" was actually built by the Pixar team as a real, driveable vehicle for the press tour—though I doubt it had the "Pegasus" mural painted quite as beautifully as Barley’s.

The film is also a treasure trove for gamers. From the "Beholder" on the snack bag to the "Gelatinous Cube" obstacle, it’s a film made by people who clearly spent their teenage years rolling twenty-sided dice. It treats nerd culture not as something to be mocked, but as the literal key to saving the day.

Onward is a vibrant, funny, and deeply moving adventure that feels perfectly at home in the modern era of "suburban fantasy." It manages to capture the frantic energy of a road trip while delivering a third act that will leave you searching for a box of tissues. It’s a testament to the fact that even in a world of franchises and sequels, a fresh story about a pair of blue elves and half a dad can still cast a hell of a spell.

If you missed this one because you were busy wiping down your groceries with bleach in 2020, go back and give it a look. It’s the kind of journey that reminds you that magic isn't just about wand-waving; it’s about the people who stick by you when the van breaks down. Just maybe avoid folding any fitted sheets while you watch it.