Toy Story 4 Review

(A version of this article originally appeared on kernelnow.com / mynewslike.com)

It’s been nine years since Woody, Buzz and friends were carried off into the sunset at the end of Toy Story 3, a film which offered a satisfying finale for characters that both audiences and owner Andy had already loved for two decades. So, with the release of this new Toy Story 4, the big question is –does Pixar do justice to its plastic (and ceramic, and plush..) heroes?

In a word, yes. Despite what many have said as they branched out more into sequels and less into new stories, the Pixar magic never really went away – especially when it comes to the film series that made them an instant animation powerhouse.

Make no mistake, though: this is Woody’s story.

It makes a lot of sense to foreground the stuffed sheriff as the hero of this film, as just like in the original Toy Story this is very much Woody’s quest to find his new place in the world. But as the franchise has shown in the 14 years since, the world is much bigger than the room of one child. No toy knows that better than Bo Peep, who was written out of Toy Story 3 with no real explanation either on or off-screen.

You don't know Bo
(source: Disney/Pixar)

In what may be the greatest ret-con in cinema history, she sweeps back into Woody’s life both inand as the winds of change, and the film even opens with a flashback explaining just where she did go all the years ago. In the time since she last saw her love, her experience as a “lost toy” has transformed her satisfyingly into a sharp-tongued and well-trained saviour for misfit playthings, and she truly leads the charge as Woody tries to reunite his new child – Bonnie – with her new "toy" –Forky.

Forky. By a distance, the strangest character ever to exist in the Toy Story world, even when taking into account Sid's horrific creations, and just as fully aware of his life’s purpose as his plaything pals. However, his purpose is to be used and then tossed away, and just like his new friends, he’s fixated on achieving his destiny. His parent-by-proxy Woody is left to foil his self-destructive desires – over and over again – which provides some of the film’s most genuine laughs. Alongside newcomers Duke Caboom (Keanu Reeves) and Ducky & Bunny (Keegan-Michael Key and Jordan Peele) who bring just the right amount of Keanu magic and an animated Key & Peele sketch, these newbies hit all the right notes.

Finding a purpose? Bin there, done that
(source: Disney/Pixar)

Names like Buzz Lightyear, Jessie, Rex and Mr Potato Head (for whose voice actor, the late Don Rickles, this film is dedicated to) may seem suspiciously lacking in this review. Unfortunately, they are also somewhat underused in the film. As well-crafted as Woody’s story is, he does seem determined to play it solo – a fact which he is confronted on by the other toys – and many of his counterparts are left behind in the meantime. Even Forky, so heavily spotlighted in the film’s advertising, eventually takes an extended back-seat to his guardian’s mission to belong again.

Toy Story has always done such a good job of developing new players that something like this was perhaps inevitable, but that doesn’t make it any less of a shame that the supporting cast run a lot of interference, and not much else. There’s also a great deal of recycling of Toy Story moments throughout the film, with whole quotes and even situations lifted from the past. Then, there’s the terrifying antique overlord Gabby Gabby, who inhabits a world so sinister that it may distract (or scare) kids from comprehending her own quest.

You've got an end in me
(source: Disney/Pixar)

These are minor complaints however, as this is still an eye-popping and daring visual feast that willonce more cause viewers to relive simpler days gone by. Toy Story has always been a standard- bearer for preparing viewers both old and young for the future, and Josh Cooley’s entry here continues that tradition (if in the most blatant way so far). It showcases the best parts of the series without actually being the best part of the series, and in doing so is very much like the strange and unlikely Forky; it takes the raw elements available, weaves them closely in a curious but recognisable way, and saddles them all together in the most effective manner possible to delight not just one child but, surely, a whole generation.