In a summer cinema release schedule filled with sequels, remakes and franchise instalments, Disney’s latest animation Elio is a rare original story.

Recently, much has been written and hands been wrung about the lack of original films in Hollywood. Indeed, Disney CEO Bob Iger announced in 2024 that the studio’s output would primarily be sequels, saying: “There’s a lot of value in the sequels obviously because they’re known and it takes less in terms of marketing”. At least he’s honest.

Elio is an unknown entity for the studio and indeed for 2025’s cinema goers. Fittingly, the film tackles the most unknown entities of all: outer space and life beyond Earth. What does this new story have to offer today’s cinema audiences who are accustomed to characters they already know and onscreen worlds that they have already visited?

Elio tells the story of Elio Solis (Yonas Kibreab), a lonely newly orphaned boy who is fascinated with space and aliens. He lives in California with his Aunt Olga (Zoe Saldana), a major in the US Air Force.

Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here.

When aliens make contact one night, Elio secretly answers their call and is brought to the “Communiverse” in outer space, a brightly coloured world that is populated with aliens. Mistakenly identified as Earth’s leader, Elio is tasked with solving an intergalactic crisis in this new alien world – a world in which he increasingly feels he belongs. Elio needs to decide whether to leave Earth forever, or if there is no place like home.

Characteristic of Disney (Pixar), the film’s visuals are audaciously stunning. Space is depicted as a twinkling magical canvas upon which Elio can dream, and sweeping, majestic images of Earth beg to be seen on a large cinema screen. The Communiverse is depicted beautifully in iridescent colours. But, against this spectacular setting, the characters ring a little hollow.

Elio is given little emotional depth, and in the Communiverse there are simply too many aliens for an audience to connect with. Elio’s new friend Glorgon is the exception here, and his open-hearted comedic wonder will certainly appeal to younger viewers. Aunt Olga is disappointingly underdeveloped and her status as a military major is presented as at odds with her new role as Elio’s caregiver.

The film forgoes much of Olga’s story in favour of a zany subplot between Glorgon and his alien father who need to reconnect. This feels like a missed opportunity and a superficial effort to depict a female character of high military rank that falls short of giving her any real agency or power in the film.

Strikingly, the filmmakers use audio clips of Carl Sagan’s Cosmos to amplify the film’s message about life and connection. These are accompanied with spectacular visuals of space and constellations. But these audio clips have a solemnity that seems out of place alongside an alien blob called Glorgon who has daddy issues.

This oddness of tone is woven throughout the film, laced with peril that feels unthreatening, comedic moments which stop before the belly laugh, and sentimental scenes that cut before the tears flow. Characters and plotlines are plentiful but consequently, the film spreads itself too thin, leaving the entire story feeling underdeveloped and somewhat shallow.

There is a lot of everything in this film, and certainly something for everyone. And maybe that’s the point. In the past two decades, we’ve moved from a shared cultural canon to a stratified ecosystem of personalised content streams.

In this entertainment landscape, a film like Elio could appeal to everyone a little bit, rather than become anyone’s firm favourite. Everyone in the family will enjoy a part of this film, albeit different parts. I particularly enjoyed the scenes where Elio’s clone is living on Earth.

This may well be Disney’s strategy: to release an original story with broad appeal in order to mitigate the risks associated with untested stories and characters. This may prove financially viable initially, but will it create films with enduring legacies that generate franchises and spawn sequels?

I fear Elio will not. The film provides little more than a passable afternoon at the cinema. It is pleasant, forgettable and safe – unlikely to live in the memory to “infinity and beyond”, like previous Disney releases.

Laura O’Flanagan does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.