When Pixar released Up in 2009, it was entering a particularly strong stretch of creativity. Coming off the critical triumphs of Ratatouille (2007) and WALL-E (2008), the studio had already established itself as the leading voice in animation that blended technical artistry with deeply human storytelling. Yet, even with that pedigree, Up managed to surprise critics and audiences alike with its emotional depth, humor, and visual imagination. Official reviews at the time reflected not only admiration for its craftsmanship but also recognition that Pixar had elevated the animated film into something much closer to timeless cinema.
Trade publications were among the first to weigh in. Variety praised the film as “a captivating odd-couple adventure that becomes funnier and more exciting as it flies along,” framing Up as both a crowd-pleaser and a work of art. For Variety, the key to the film’s success lay in its tonal balance: it could swing from heartbreak to slapstick to high adventure without losing its center. This sentiment captured one of the most enduring aspects of Up—its ability to engage both children and adults on different, yet equally satisfying, levels.
The Hollywood Reporter similarly emphasized the film’s emotional reach. While much of the praise focused on the now-iconic opening sequence chronicling Carl and Ellie’s life together—a montage that many critics described as one of the most poignant moments in modern cinema—the review also highlighted how the film never lost momentum once the adventure truly began. For the Reporter, Up exemplified Pixar’s uncanny gift for pairing deep emotion with whimsical storytelling, delivering what they called “a soaring achievement” both literally and metaphorically.
Mainstream critics echoed these sentiments. Roger Ebert gave Up four stars, calling it “a wonderful film, with characters who are as believable as any live-action counterparts.” He marveled at the way the story addressed themes of grief, aging, and renewal—rare subjects for a family film—without ever feeling heavy-handed. Ebert noted that by the end, audiences felt uplifted, not weighed down, by Carl’s journey, a testament to the careful balance the filmmakers achieved.
The New York Times, in its review, described the film as “an elegant tale of loss, discovery, and improbable friendships.” What struck the paper’s critic most was how Up succeeded where so many adventure films fail: it paired spectacular visuals with a story that mattered. The Times suggested that Pixar’s work was inching ever closer to being regarded not just as animated storytelling, but as cinema on par with the best live-action dramas.
Despite universal acclaim, Up also became a touchpoint in discussions about awards recognition for animated films. At the time, the Academy had a longstanding habit of relegating animated works to their own category. But the critical momentum surrounding Up—along with its commercial success—helped push the Academy to expand its Best Picture field. The following year, Up was not only nominated for Best Picture but also won the Oscar for Best Animated Feature.
Looking back, the official reviews for Up show how firmly the film resonated with critics across the board. They praised its humor, applauded its emotional daring, and admired its artistry. In doing so, they helped cement Up not merely as another success in Pixar’s near-perfect run, but as one of the most celebrated animated films of its era—a film that continues to “lift” audiences more than a decade later.
