Toy Story 4 (2019) review

Besides ‘we have no cheese’ and ‘live action remake‘ there are few words that fill me with such dread as ‘Toy Story 4.’ A trilogy that is unanimously agreed to be as close to animated cinematic perfection as possible really didn’t require a fourth entry, and the list of good third sequels could barely fit on a sentient spork. Alas, here we are. But, in a ray of optimism, Toy Story 4 is not bad. Far from it, in fact. Does it live up to the immense standards of its predecessors, though? Well, no.

There’s a lot to like in Toy Story 4 (it still feels weird to type that). From the fun new players like Keegan-Michael Key and Jordan Peele as Ducky and Bunny, to the mercifully fresh narrative, we can all breathe a sigh of relief as the credibility of the franchise remains intact. In what will come as a surprise to nobody, leading man Tom Hanks is still likeable and compelling as Woody, a role he’s been played with affable joy for nearly thirty years. Let that one sink in. Everyone (except Bonnie’s) favourite Sheriff’s arc is undoubtedly intended as a metaphor for Fathers of children who’ve left home, as he struggles to find purpose in an Andy-light world, where he’s no longer the number one toy at play time. Hanks slips back into the role with ease, delivering on both the comedy and the mushy moments through the warm gravitas that only his voice can bring.

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Sadly, besides a near unrecognisable Bo Peep, Woody is the only member of the OG gang to get much of any focus. Fan favourites like Slinky, Jessie, Rex, and my beloved Bullseye are afforded almost no screen time, and are hastily left out of the action in favour of new players. Even once co lead Buzz Lightyear feels not only sidelined, but also dumbed down, to the point that he feels a shell of his former, heroic self. As a big fan of Buzz, this was a shame to see, especially as the initial draft of the script was reportedly Buzz-centric, an element that hasn’t reappeared since the first film.

Nostalgic gripes aside, the new players are mostly welcome. Christina Hendricks’ Gabby is a suitable evolution of the bitter-toy-villain stereotype, and despite her frankly horrific organ harvesting plan, she does garner a suitable level of audience empathy. A big shout out must also go to the ventriloquist dummies; a genius concept for henchman that are as hilarious as they are nightmare inducing.

So, about Bo. She’s great here, though entirely unrecognisable from her original appearance, even sporting a new voice. Her former damsel in distress / weirdly sexy voice persona has all but evaporated, as she (somehow) trades in her porcelain dress in favour of a badass cloak and bandage combo. She leads an underlying motif of girl power than runs throughout the film, as Jessie, Dolly, Gabby, and Bo all either lead the gang or take the reigns of power from the male leads. You could take an academic feminist reading and say they’re taking back power from the patriarchy. Hell, Woody even literally loses his voice to a woman. Perhaps I’m reading too deeply into it and they’re just better written characters.

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In terms of the technical stuff, this is Pixar working with all engines running. The visuals are fantastically realised, with smooth animation that reminds you how refined the medium has become since the gang first broke ground in 1995. The Antique store’s cat in particular looks amazingly lifelike, especially when compared to the very polygonic dog guarding Sid’s back garden in the original. The colour palette is equally lovely, with far less murky blacks and greens than its darker predecessor. The carnival setting allows for vibrant and varied technicolour machinations at every turn.

The traditional Randy Newman score also makes a somewhat triumphant return, with a wonderfully nostalgic montage song near the beginning, harkening back to the days of ‘Strange Things’ and ‘I Will Go Sailing No More.’ It would also be a lie to say that the reprise of ‘You’ve Got a Friend in Me’ didn’t put a big smile on my face. The orchestral score however, does seem entirely phoned in. Character leitmotif is one thing (and one thing I’m VERY passionate about), but entire musical cues are seemingly ripped in their entirety from previous entries, which is just lazy.

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It is the script that is ultimately the film’s greatest strength, yet its biggest weakness. In many ways the plot is a breath of fresh air, and many jokes and emotional moments do indeed stick (or rather crash – you’ll get it when you watch it), the landing. However, there’s just something absent, that makes the experience ring hollow. Perhaps it comes down to the MIA main cast, or the bittersweet ending that’ll undoubtedly be a divisive topic. Personally though, I feel the pacing drags, far more than in its predecessors. There was just more of a sense of urgency in those films, that left you genuinely tense. Here however, through the admirable exploration adult topics like life purpose and existential crisis (!), the film loses a bit of what made Toy Story so great. The camaraderie and simplistic storytelling is lost, but what replaces it isn’t bad, just different.

I ultimately feel warmer about Toy Story 4 the more I think about it. It remains in my mind, unnecessary in its existence, when the third and at the time, ‘final instalment’ had a sense of finality that will always be unmatched. However, Toy Story 4 justifies itself by taking the characters (well, two of them) in bold new directions, touching on important, difficult aspects of life in a sugar coated, comedic skin that stop things getting too real. If a Buzz focused Toy Story 5 is in the future, then so be it. If it’s this good, then we have little cause for concern.

★★★★

My series ranking, if you’re interested:

Toy Story 2 (1999)

★★★★★

Toy Story (1995)

★★★★★

Toy Story 3 (2010)

★★★★★

Toy Story 4 (2019)

★★★★

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