Genre:
Animation, Adventure, Comedy
Produced by:
Jonas Rivera, Mark Nielsen
Directed by:
Josh Cooley
Written by:
John
Lasseter, Andrew Stanton, Pete Docter, Lee Unkrich, Rashida Jones, Will
McCormack
Production Company: Walt Disney Picture, Pixar
Starring: Tom
Hanks, Tim Allen, Annie Potts, Tony Hale, Christina Hendricks, Keegan
Michael-Key, Jordan Peele, Keanu Reeves, Joan Cusack, Madeleine McGraw
Runtime: 100 minutes
SYNOPSIS:
Following the events of Toy Story 3 (2010), Woody (Tom Hanks) and his toy gang now belongs
to Bonnie (Madeleine McGraw). One
day, Bonnie returns from kindergarten orientation with a spork-turned-toy named
Forky (Tony Hale). Knowing how much
Forky means to her, Woody tries his best to make Forky feel like he’s at home
amongst Bonnie’s friends. But Forky’s existential crisis compels him to run
away, which sets the gang on an adventure that further challenges their
perspective on their true life purpose.
REVIEW:
It goes without saying how much Toy Story (1995) changed film history.
It certainly changed Pixar’s history.
Originally a maker of animated shorts, Toy
Story was the studio’s feature-length debut. Their future of possibly making more
feature-length animated films rested on the aforementioned film, and it turned
out that people liked it and wanted more. Since then, they’ve never looked
back.
As far as technology went, it ushered in
a new era of 3D computer generated animation that quickly replaced Disney
Renaissance’s 2D traditional animation, which now becomes not only the norm of
Pixar animation, but also its rivals. Beyond that, Toy Story was a storytelling innovation. Blending family-friendly content
with mature themes, that film’s all-ages appeal illustrated how animated films
aren’t only for kids.
Toy
Story
helped lay the foundation for the Pixar formula. Since then, they’ve made other
movies, mostly critically-acclaimed, but they couldn’t resist the urge to
revisit the Toy Story universe.
And even as Toy Story entered franchise territory, it kept on surpassing
expectations. Some considered the Toy
Story franchise as the perfect trilogy. Some ranked Toy Story 3’s ending as one of the best. In fact, that film ended
on such a high note that many believed that it was impossible for the creators
to create any more sequel.
But in today’s franchise filmmaking,
there is no such thing as an end. Nine years after its supposed conclusion Toy Story 3, the toy gang returns for
another adventure in Toy Story 4, one
that’s greeted with early skepticism. In the eyes of filmgoers and Toy Story purists, Toy Story 4 is the definition of unnecessary sequel, a “cash grab”,
something that Pixar certainly begs to differ. Regardless of how beloved the Toy Story franchise is, the jury is
still out whether Pixar made the right decision in green-lighting the sequel.
On that end, it pays off. Toy
Story 4 is yet again another sublime entry in the Toy Story franchise, which is hardly surprising since Pixar has
never made a bad Toy Story film, let
alone a mediocre one. But is a sublime Toy
Story sequel enough to justify its existence? Yes.
With a story that’s worth telling and
well-told, Toy Story 4 does have
something new to say about toys going through an existential crisis, suggesting
that there is life for both the characters and the franchise after Toy Story 3. Making another film in the
same franchise that deals with the same theme can only go so far, but Toy Story 4 manages to find timely ways
to explore such an all-too-familiar theme. The creators take into account how
the world has changed since the toys’ last appearance nine years ago, which lends
the picture with a nuanced perspective on a toy’s life purpose.
The creative lengths they go through to
make the story as thematically relatable yet resonant as possible are a sign of
their respect for its primary audience. Toy
Story 4 treats children like intellectual beings, who can appreciate
animated films not only for its slapstick humor, but also the story and
characters. And it’s got something extra that adults can sink into as well.
It’s got a few mature jokes that are going to take people off guard for its
audacity. Continuing Pixar’s prowess in emotional manipulation, certain scenes
are going to be hard to go through without tears in the eyes, both for the young
and the old.
Against all odds, Toy Story 4 makes a strong case for a franchise to continue even
after it had ended in a trilogy. Because of that, the Toy Story franchise now has the luxury of relinquishing its perfect
trilogy title for a far better one: the perfect quadrilogy.
As expected from a Pixar production, Toy Story 4 is an impressive technical
achievement that further demonstrates why the studio is the pioneer of feature-length
computer animation. The opening cameo of Andy’s neighborhood alone, now a lifelike
suburban sprawl teeming with equally lifelike toy/human characters, highlights
just how far CG animation has evolved since that first movie in 1995.
Highly detailed and vividly-rendered, it
manages to capture even the smallest ripple of water and the individual strand
of a cat’s fur with such photorealistic clarity. When the film fades in with a reflection
of a house on a puddle, it successfully creates the impression that what the
viewers are staring at is an actual puddle, which is both beautiful and eerie at
the same time. It is by no means the most memorable moment in the consistently
memorable Toy Story 4, but it gives a
clearer picture of its overall visual direction: an animated film with
live-action sensibilities.
Toy
Story 4’s
live-action sensibilities make for some gripping action. Every set-piece
throughout the film crackles with white-knuckled tension, urgency and sheer summer
movie excitement, which does its race-against-the-clock adventure premise
justice. Fast paced, with rarely a dull moment, the film always keeps the heroes
moving. They are constantly put in situations that feels like their lives are
at stake, like they can actually get hurt.
Look no further than the film’s first
action sequence, which involves Woody and the toy gang trying desperately to
save a racecar toy who is stuck in a gutter amidst a heavy rain. There are going
to be more of these close call moments to follow. But that opening scene alone
is already engaging thanks to the filmmaking style. Josh Cooley, in his feature-length directorial debut, cuts shots
together so sharply in a way meant to generate maximum visceral suspense, which
helps considerably in making realistic CGI threats like the gutter flood in the
opening sequence feel greater.
That same level of suspense can also be
found when the characters stumble across a dusty, cobwebbed antique store,
featuring creepy dolls creeping in and out of dark places. This is where Toy Story 4 takes a brief horror turn. In
that sense, it isn’t afraid to frighten kids a little bit, with a few effective
building of tension and jump scares that are worthy of inclusion in the horror
classics it pays homage to (whether it’s creepy doll horror movies or the Shining (1980)).
Toy
Story 4’s
narrative ability to juggle so many character arcs all at once is just as
impressive. It mostly succeeds in justifying the presence of the returning
characters from past Toy Story installments
as well as the new additions. Some of the returning characters might get
sidelined in service of a more focused story, but the characters they do focus
on are given well-defined arcs. As far as the new characters are concerned, Toy Story 4 is their story. It deals
with their existential crisis. The returning characters’ role is a quasi-mentor
who uses their wisdom to guide the newbies every step of the way. In that
sense, the film serves as a passing of the torch from Woody’s generation to the
new generation.
That is reflected in Woody’s arc
throughout this film. Formerly Bonnie’s favorite toy, he now has to deal with
the fact that he just is not anymore. One scene sums up the gravity of his
situation. Bonnie opens her drawer to excitedly pick up as much toys as she can,
but when she closes it, Woody comes to life and finds out that he is still
inside, left all alone alongside other broken, dusty toys (Betty White, Mel Brooks,
Carl Reiner and Carol Burnett).
And just like that, he is replaced by
other toys. At this point, it’s familiar territory for the Toy Story films. But the narrative manages to sidestep the familiar
formula through its fresh point of view. It’s not the idea of no longer being
Bonnie’s favorite that scares Woody. It is the idea of being left behind that
scares him the most, which also works in a subtle, deeper level as the film’s
metaphor on the fear of growing old.
That might sound weighty for a G-rated
film, but Woody’s response to his fear is a universal language that even kids
can understand. His character is an example of always prioritizing loyalty and
being good to others above all, no matter how bad they treat us. How the
writers go about getting across these messages speaks volume of the franchise’s
attention to character development. His experience has somehow molded him into
an unsung father figure, one who deeply cares for Bonnie even if it is
unrequited. He just wants to make Bonnie happy in whatever way necessary, even
if it means seeing her being happy with someone else instead of him.
But loyalty has its limits. Woody has
tried everything he could to make a child happy, hoping that it leads to a
long-lasting relationship, yet most often, he’s left behind. The film dares to subvert
its underlying theme by confronting Woody with this one question: is making a
child happy the only way towards a toy’s true happiness?
That is where Bo Peep (Annie Potts) comes into the fold. Here,
she is the leader a lost toy community who would not only help Woody get back
to Bonnie, but also help change his mind about living life as a lost toy. A
familiar face in the Toy Story franchise,
she was last seen in Toy Story 2
(1999). Toy Story 4 marks her first
appearance in twenty years, which reintroduces her via a flashback sequence that
helps fill in the blanks on her disappearance in Toy Story 3. And it’s worth the wait. The film provides a drastic reinvention
of her character for the better.
Ditching her prim shepherdess costume
for long pants, cape and a shoulder bandage, Bo Peep looks like a hardened
badass, one who can keep her cool anytime her fragile arm falls off or take
care of herself without relying on others. So often the damsel-in-distress,
seeing her turn the tables this time around is a triumph of girl power. Bo just
feels more like a character here than in her previous appearances, with an
emotional arc that anyone can latch onto.
Even her romance with Woody feels like a
character on its own. A few exchanging of cutesy winks like in the old days is
punctuated with deep, meaningful conversations. They have to go through an arc
in order for their relationship to work. Bo is all about the toy’s life, while for
Woody, it’s the child’s life. Eventually, one has to give. Since Bo is firm in
her belief, it’s up to Woody to set his priority straight. Is he going to
choose Bo or Bonnie?
Still, Woody’s reunion with Bo Peep
would not have happened without Forky, a new character in Toy Story 4. Forky is Bonnie’s current favorite toy that isn’t
technically a toy. In a bizarre twist, he is a sentient spork, whose newfound role
as Bonnie’s toy makes him question his own existence. Is he a spork or is he a
toy?
One thing’s for sure though, as a
character, Forky has much more depth than his spare design may suggest. His
many freak-out antics are not only goofy and endearing, but also relatable. All
of them blend perfectly in a recurrent gag, which involves him compulsively hopping
into trash cans, screaming, “I’m trash!” Kids will appreciate the scene thanks
to the adorable character and visual humor. Adults will consider it a mark of
screenwriting genius thanks to the thematic depth. From his “I’m trash” mantra
alone, the film provides a deeply realistic depiction of someone dealing with
insecurity. It is the idea of how the inability to conform to others physically
or socially can make anyone feel like they’re, well, trash.
In the midst of the doubt, out comes Woody,
serving as a father figure not only to Bonnie, but also Forky. Their father-son
dynamic is the film’s true emotional core, one that’s sprinkled with witty
interplay and heartfelt moments. Woody knows that anything that means a lot to
Bonnie also means a lot to him, which is why he is so caring and overprotective
of Forky, why he’s so eager to make Forky feel like he’s at home amongst others,
by hook or crook. Woody’s success hinges on whether Forky finally accepts his
responsibility as a toy.
But in every Toy Story film, there is always a villain. Continuing the franchise’s
tradition of one-off villains, Woody and the gang’s latest bad guy is Gabby
Gabby (Christina Hendricks), a broken
doll. The word “doll” (or dolls, if her army of ventriloquist dummies called
the Benson are included) alone kind of says it all. Her friendly voice, sweet
demeanor and adorable look does very little to masquerade a pretty twisted mind.
Without spoiling anything, she needs something from Woody and it involves his
body part. That sounds pretty twisted for a kid-friendly film, isn’t it? If
that is so, then she did a great job as a villain.
But Gabby Gabby is more than just a stereotypical
creepy doll. Her twisted means is driven by a compelling motivation, one that
isn’t any different to her fellow toys. She just wants a child to play with her,
as simple as that. A second act back story reveals that she wants Woody to help
her connect better with a particular little girl who frequents the dusty,
cobwebbed antique store she resides in. She would do anything for this little
girl, even if her methods are questionable. On that end, she serves as a breath
of fresh air from the child-hating villains in the previous sequels, so much so
that it is difficult not to wish a doll who just wants love a happy ending.
Other new toy characters include Ducky (Keegan Michael-Key) and Bunny (Jordan Peele), a couple of carnival plushy
toys who is desperate for a child to take them home. They even have a song
lined up just in case it happens. As comic relief characters, they don’t only
bring the biggest belly laughs, but also its boldest. One scene involves the
duo thinking of ways to steal a key from an elderly, all of which always ends
with them attacking her, which demonstrates the creator’s risk to go over the
edge with the humor.
If that’s not enough, there’s also a
brief appearance from Duke Caboom (Keanu
Reeves), a lost toy and most importantly, Canada’s greatest stuntman, who
draws a few worthy laughs for his over-the-top poses and personality as well as
sympathy for his trauma of past failures.
Last but not least, a Toy Story film just isn’t complete
without Buzz Lightyear (Tim Allen). He
does share a few buddy moments with Woody. He goes through an arc where he
learns to listen to his inner voice. But for the most part, his role and chemistry
with Woody is far more limited here than in previous films. That does not mean
it’s a negative. The Toy Story films
are never about Buzz Lightyear. He is just one of the many characters
surrounding Woody.
Toy
Story 4’s
triumphant character work is elevated by its similarly triumphant voice acting.
Four films in, and it’s a universally-known fact that Tom Hanks and Tim Allen
are Woody and Buzz Lightyear respectively. Hanks’
gentle voice lends a lot to Woody’s heart and humor. Allen’s booming voice brings to life Buzz Lightyear’s hilariously
self-serious action hero persona. Together, they make for a funny, heartfelt duo.
Annie
Potts
combines grace with ferocity to do a revamped Bo Peep justice. As Forky, Tony Hale continues his home run of
playing neurotic characters, one that’s not only comically successful, but also
dramatically. Christina Hendricks delicately
balances sincerity and subtle creepiness to make Gabby Gabby one of the
franchise’s most memorable villains. Keegan
Michael Key and Jordan Peele are
a burst of joy and energy as Ducky and Bunny respectively. Keanu Reeves in cartoon form gets a chance to channel his inner
surfer dude as Duke Caboom, which is never a bad thing.
CONCLUSION:
Toy
Story 4
proves that it’s got another toys’ story (pun intended) worth telling in this
funny, moving adventure that combines child-like wonder, stunning animation
with deep, relatable human emotions in ways that caps off a perfect franchise
with a perfect quadrilogy.
Score: 10/10
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