Monsters University is out in theaters today. And it is great.
Just not, you know, Pixar-great.
The sequel to 2001's Monsters Inc. finds its protagonists, Mike Wazowski and James P. Sullivan, in their freshman year of college at Monsters University, where they've both declared majors in Scaring. Mike is a technical whiz who knows all the theory and science behind kid-scaring but isn't scary; Sulley, by contrast, is an ace scarer who operates on instinct and his long ancestry of champion scarers, but makes little effort to understand the tactical aspects of scaring. They dislike each other immediately. But when both fail their first-semester Scaring final and get kicked out of the esteemed MU Scaring program, they make a bet with the Dean (a dragon-winged, millipede-tailed terror voiced coolly by Helen Mirren): If they can whip into shape the only fraternity team who'll have them—the beyond-nerdy Oozma Kappas—and win the intramural Scare Games, they get back into the program. If they fail, they're expelled.
So why is Monsters University pretty great by any other standard but Pixar's? Because the best films to have come out of Pixar Animation Studios combine vivid, funny bursts of imagination with a deeply affecting story—and Monsters University only delivers one of those things.
In 2008 (in retrospect, the beginning of the end of the proverbial Golden Age of Pixar), the studio's president Ed Catmull wrote for the Harvard Business Review about how Pixar had managed to produce its now-legendary streak of animated family-film blockbusters. Catmull's piece spans several pages, but he sheds light on what, today, seems to be a telling aspect of Pixar's philosophy:
We're in a business whose customers want to see something new every time they go to the theater. This means we have to put ourselves at great risk. Our most recent film, Wall-E, is a robot love story set in a post-apocalyptic world full of trash. And our previous movie, Ratatouille, is about a French rat who aspires to be a chef. Talk about unexpected ideas! At the outset of making these movies, we simply didn't know if they would work. However, since we're supposed to offer something that isn't obvious, we bought into somebody's initial vision and took a chance.
Catmull's theory, then, is that audiences buy Pixar movie tickets because they want to see something they've never seen before.