When Disney Pixar released “Inside Out” in 2015, audiences were sure Pixar was on top of its game again. Then came “Good Dinosaur,” “Finding Dory” and “Cars 3,” and viewers were disappointed to say the least. Now, with “Coco” in theaters, some audience members may think it will be just as much of a let-down, but one viewing will assure them that “Coco” is a return to form for the studio that was a true innovator in the world of animation.

A fair warning to those sick of “Frozen” fever: there is a 20-minute-long short full of Olaf antics preceding the theatrical release of Pixar’s latest masterpiece. For those that might punch a wall if they hear “Let It Go” one more time, bring some earplugs or show up 20 minutes late to miss the torture.

The story of “Coco” is set on Mexico’s Dia de los Muertos, translated to Day of the Dead, a holiday which celebrates the Mexican tradition of welcoming spirits of relatives back to visit their families in the living world for one day of the year. It is a festive, colorful holiday filled with alebrijes (colorful statuette spirit guides), papel picado (colored cut paper), marigolds and other traditions that are well represented in the Pixar film.

The main character, Miguel, is voiced by Anthony Gonzales (“Icebox”), who plays a Mexican boy on an adventure through the Land of the Dead to find who he believes is his late great-great-grandfather, Ernesto de la Cruz (Benjamin Bratt, “Doctor Strange”), the movie’s famous Mexican singer. Much of the cast, including the protagonist, are of Latin American descent, whether they are playing living family members or dead relatives who are now clothed skeletons in the afterlife.

The plot, unlike the cultural elements and cast list, is a little bit harder to get behind right away. At first, the story seems to follow a boy living in a house that has banned music in a true “Footloose” style that seems just as ridiculous of a premise as the ’80s classic. Once Miguel ends up in the Land of the Dead, he meets Hector (Gael García Bernal, “Salt and Fire”), a nearly forgotten skeleton who agrees to help him on his quest, which creates the often-overused dynamic of two characters forced together by selfish interests who later end up loving each other.

Pixar may have used what are typically predictable elements to drive the plot, but as the film progresses, audiences are thrown one surprise after another that will make them both clench their now-broken hearts and scream in shared agony with the characters. The character development, relatability and original plot is as emotionally riveting as “Inside Out” in a unique way that does not seem repetitive.

One last important thing to praise Pixar for is its attention to animation detail. Those who are more privy into animation challenges will notice a few milestones, including the accuracy of the guitar playing and the realness of the movements of the Xoloitzcuintli dog, Dante, a hairless breed believed to be guides to the underworld in Mexican culture dating back to Aztec times.

Whether it is with the characters, culture, plot or animation, every viewer will find something to love and adore about Pixar’s “love letter to Mexico.” With two more Pixar sequels in store next year, it is nice to have a break in between sequel overload for a truly original adventure story with a message of family sure to hit everyone right in the heart.

Photo:Disney Pixar via YouTube.com