A minute ago I thought I was related to a murderer! You’re a total upgrade! Despite his family’s generations-old ban on music, young Miguel (Anthony Gonzalez) dreams of becoming an accomplished musician like his idol Ernesto de la Cruz (Benjamin Bratt). Great-grandmother Coco (Ana Ofelia Marguía) was abandoned by her musician father to pursue his career and her daughter Mama (Sofia Espinosa) doesn’t want to hear or see anyone with musical inclinations in this multi-generational household. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead after he plucks de la Cruz’s guitar from the wall of his mausoleum on the Day of the Dead. After meeting a charming trickster named Héctor (Gael García Bernal) the two new friends embark on an extraordinary journey to unlock the real story behind Miguel’s family history involving murder, theft and a misbegotten career … Disney’s Mexican quest narrative has proved hugely popular critically and commercially and it’s easy to see why even if like most contemporary animated features it could have been twenty minutes shorter. It’s a wildly colourful ride, beautifully realised as an explanation of death as a parallel universe where existence is run with just as much pettiness and bureaucratic nonsense (spewing information from an Apple Mac in what looks like a nineteenth century railway station). Mapping Miguel’s desire to find out the truth about his mysterious great-grandfather while being teamed up with Héctor who hasn’t completely crossed over because his photograph hasn’t been memorialised is a clever trope, typical of the Hero’s Journey model which revolutionised the studio’s animation output thirty years ago. There are some good jokes for the adults featuring unibrows and Frida Kahlo (Natalia Cordova-Buckley) with a nod to Game of Thrones via a spirit guide that resembles a dragon. It may be based on the preceding short Dante’s Lunch but many people will recall The Book of Life from Fox a few years ago. This occasioned an eye-wateringly bad rendition of the song Remember Me at the Oscars, along with the other unutterably under-rehearsed Best Song nominees. Ah, Hollywood. The original story is by director Lee Unrich, Jason Katz, Matthew Aldrich and Adrian Molina while the screenplay is by Aldrich and Molina and the score is by Michael Giacchino.