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Barb and Star Go to Vista Del Mar

Kristen Wiig and Annie Mumolo, the duo who wrote the runaway hit Bridesmaids, are back at it again, cracking us up with a less raunchy but no less funny comedy about women in the prime of their life.

Okay, maybe not quite prime, but if they’re no longer bridesmaids, they’re not quite old maids. They’re single (divorced/widowed) and ready to mingle. Barb (Mumolo) and Star (Wiig) do everything together these days: they live together, work together, and go to Talking Club together. Rather awkwardly, Talking Club’s topic of the day is ‘jobs’ and Barb and Star have just been fired. Not even their famous hot dog soup can soothe these wounds. Listless, they take a cue from an acquaintance who’s just returned from a vacation she describes as a “douche for the soul.” Inspired, Barb and Star pack a whole range of culottes and some other essential items and head for that special section of Florida where luxury meets coconuts.

Barb and Star are about to have the vacation of their lives, and not just because it’s the first time they’ve ever left Nebraska. An evil villain named Sharon (also Wiig), an evil paperboy named Yoyo (Reyn Doi), and evil minion Edgar (Jamie Dornan) are plotting, well, evil, and its epicentre is Vista Del Mar! Luckily or unluckily, henchman Edgar just happens to be hunky, and Barb and Star have been starved for some luvin. Boy does this complicate their vacation! Barb’s lying to Star, Star’s sucking face with Edgar, they’re all dancing to a Celine Dion Titanic remix, and a soul douche is about to become a very wild ride!

The plot manages to make some sense despite being wildly absurd, but mostly you’re watching because Barb and Star are just so darn charming. Mumolo and Wiig still got it going on. I worried that these characters might seem like something better suited to an SNL sketch, but I didn’t need the trappings of the film, I would have been happy just spending time with the Talking Club. Although Barb and Star are caricatures, they’re made up of so many clever little details you won’t fail to find something familiar about them. They’re over the top but never annoying and never too much.

Production design, art direction, and costumes all come together in a wacky, tacky riot of pastel kitsch – and did I mention the random musical numbers? Barb and Star Go To Vista Del Mar is unapologetically and exuberantly silly, fully committed to the twin performances by hilarious comediennes Mumolo and Wiig, and pretty much the perfect comedy and it has been a long while since I said that about anything. We’re all in need of a little escapism right now and this movie is a glossy brochure for a middle aged vacationer’s delight – it smells like Red Lobster and looks like a Metamucil-yogurt commercial. What more could you possibly want?

Soul

Joe (Jamie Foxx) has jazz music in his soul and zero dollars in his bank account. His mother likes to brutally remind him of this little fact, and push him toward accepting a permanent position as a middle school music teacher. Just as he’s about to capitulate, an old student calls to offer him a wildly exciting opportunity to play with the wonderful Dorothea Williams. Ms. Williams (Angela Bassett) is impressed with his jazzing, and he’s engaged to play with her later that evening. But he doesn’t make it to later that evening; he dies on his way home.

Understandably, his soul panics on the way to heaven, and he decides to buck the system, running away from heaven or the great beyond or whatever you want to call it, but unable to get back to Earth/life. He hides out in a mentorship program instead, posing as a mentor soul assigned to help new souls find their spark. Soul #22 (Tina Fey) has been mentored by the very best for eons but has yet to find her spark. In fact, she expects that life is kind of a buzzkill, and she’s actively resisting it. Joe runs through all the obvious things like music and food, but it’s not until they sneak back down to Earth that things really start to gel for her. Of course, it probably helps that she can finally experience things in a human body, one that moves to music and tastes food and is delighted by the strange wonders of the human world. One small hiccup: in the melee, 22 took over Joe’s body, and Joe’s soul…ended up in a cat. Joe is desperate to make the Dorothea gig, but what use is it if he’s a cat? And 22 is deeply distracted by pretty much every single thing she encounters. She’s finally found her spark, but the problem is, she kind of promised it to Joe. You need a spark to get to Earth permanently, and taking 22’s is Joe’s only option. And until very recently, 22 had no use for a spark and no interest in life. She promised it freely. But now…well, what if 22 wants it too?

This movie is beautiful and tragic because life is beautiful and tragic. It is everything you want from a movie and nothing you expect from a cartoon – except it’s Pixar, so you dare to hope. They’ve done it before. They’ve done it again.

In talking about death, Soul is actually discussing how to live. Joe believes that his life will be fulfilled by achieving his dream of performing jazz, but 22 teaches him there’s plenty of pleasure and wonder to be found in simply living, in taking the time to look, listen, and learn. 22’s naivety and newness to the world inspires Joe to slow down and take a look around as well.

Directors Pete Docter and Kemp Powers are not afraid to embrace the surreal and the intangible when examining the life well-lived, or to ask children to engage in a little introspection. A simple premise allows for a wonderful complexity of ideas embodying Joe’s existential crisis – which may be putting it mildly considering he’s dead and doesn’t want to be. But this spiritual scrutiny is able to include both the joy and the sadness, the fear, regret, obsession, insecurity, and the inspiration, ambition, passion, and life-affirming facets of personal philosophy because Pixar’s trademark playfulness makes it all feel non-threatening and really rather fun.

The voices are well-cast, the entities are well-designed, the movie looks amazing, but most important, it just feels good. It feels right, it feels warm, it feels like a hug from your past self to your future self, and I can’t think of a more perfect (cinematic) way to end the year.