For the first time, Pixar has made a Toy Story movie that adds nothing essential to the arc of the previous films. It’s still worth seeing.
Toy Story, the first-ever fully computer-animated feature and the film that put Pixar Studios on the map, is more than a technical tour de force. It’s moviemaking alchemy — a breathtakingly perfect blend of wide-eyed childhood wonder and wry adult humor, yesteryear nostalgia and eye-popping novelty, rollicking storytelling and touchingly honest emotion.
It’s the best kind of sequel, the kind that neither repeats the original nor merely adds to it, but lovingly builds upon it and goes beyond it into narrative and emotional territory no first film could reach.
At times Toy Story 3 feels a bit less fleet-footed than its predecessors, though there’s nothing that doesn’t work. Lee Unkrich, who co-directed Toy Story 2, Monsters, Inc. and Finding Nemo, directs with a sure hand. The story is stuffed with wit and invention, such as a couple of premise-bending applications of the Potato Heads’ modular body parts and some hilarious riffing on Ken and Barbie.
Toy Story 4 does not continue the story of the first three films, but casts about for new things to do in this world with the sprawling cast of characters in Bonnie’s orbit, most of whom once revolved around the now-absent figure of Andy.
It pains me to say this: If Lightyear is Andy’s Star Wars, what an impoverished childhood Andy had.
Copyright © 2000– Steven D. Greydanus. All rights reserved.