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| Source: Wikipedia |
Okay. So these self-identified monsters live in a parallel world just like ours, except for the parts that aren't. The population spans a staggering range of shapes and sizes and color combinations, yet everyday objects appear designed for the relatively humanoid. Human things are just tweaked to look more monstrous. Moreover, clothes seem optional.
The urban economy depends on actors who go through interdimensional portals made of wood and metal and rubber tubes.
Why? To harvest the negative emotions of human children which fuel their technological society. Because of course.
All this offbeat weirdness blends into a sensational symphony of the instantly relatable and unquestionably bizarre. Human names, human events, human social situations, but cloaked in a luxuriously animated monster metropolis.
Oh right, the story. It's great stuff. The gentle giant and bigmouth bipedal eyeball are the top in the scaring business. Then, via shenanigans, a human toddler escapes into their world. A reverse monster movie ensues. Blah blah unmitigated brilliance.
Turns out the girl isn't toxic like the monsters think, but she exhibits typical toddler attributes. She babbles incoherently (yet coherently enough to communicate); she transforms intelligent adults into gibbering morons (did they all legitimately fall for that disguise); and might possess the superpower of teleportation.
Scrambling for an easy solution to an unexpected child (there is none), the well-meaning heroes stumble upon corporate corruption and pragmatic atrocities. It can happen.
At the apex of their genius phase, Pixar creates yet another enormously complex world. Even better, they make it comprehensible and slick-paced and legitimately funny. Every hair, tentacle, and snowflake oozes obsession to detail.
Why yes, I’m raving. Carry on with your doubtlessly fascinating lives. Which would be even more doubtlessly fascinating with adorkable monsters.
92 minutes.
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