Review: Toy Story 3 (2010)
Toy Story 3 (2010)
9.5/10
It is an exciting feeling to watch a film in which the energy, effort, time and care put into it feel palpable. To truly feel that the filmmakers gave a piece their all and for it to succeed does not happen all that often. Pixar films generally consistently feel this way; their efforts are constructed with a maturity and care that manages to work on different levels for both kids and adults. Toy Story 3, quite possibly the best of the trilogy, continues this streak of genuine effort. If possible, this sequel had more riding on it than other ventures. Woody, Buzz and the cast of characters were introduced to us in 1995, 15 years ago, as the first CGI film. Not only is it an important film as the accomplishment it was and the changes in film it brought about but it holds up today and is as entertaining now as it was then.
The chance the filmmakers took of tainting the images of these iconic and culturally relevant characters was a big one. I was 8 when Toy Story came out and 12 when Toy Story 2 was released. I remember seeing the sequel on Thanksgiving that year with my family. At this point there is a sense of history attached to this world and it may be an overstatement to some but it is the way it feels at this point. Toy Story 3 not only exceeds expectations but brings about the perfect conclusion to this series that takes the themes of the first two (friendship, loyalty, growing up, abandonment, imagination) and expands them in a heartbreaking and realistic manner that like many Pixar efforts goes far beyond the complexities that are expected to be found in what is commonly labeled as a children’s film. It does all this but also managed to be a very funny film and a purely entertaining one layered on top of the depth beneath it.
Andy has grown up and is getting ready to go off to college. Over the years, Andy has weeded out the toys he no longer wanted and the only ones remaining are Woody, Buzz, Rex, Hamm, Jessie, Mr. and Mrs. Potato Head, the Pizza Planet aliens and Slinky Dog. Bo Peep is gone and only referred to once as a traumatic event that Woody still mourns. The mention of her made me think this was setting up a scene in whih she returns; alas this is not the case and it is a great example of how the film goes the extra mile to address the issue of loss head-on. Also gone are Etch, Wheezy, Lenny, RC, Mr. Spell and any other characters from Andy’s room. The remaining toys remain in the chest in Andy’s room but are never played with. The film begins, after a truly encompassing beginning sequence, with camcorder footage of Andy playing with his toys. We are then shown the present in which the toys steal Andy’s cell phone and call it using the house phone in the hopes that seeing the toys will prompt him to play again. It does not work and the toys have a meeting which mirrors the meeting from the first one and differs in the latter’s barrenness.
The main plot of the film concerns what will happen to Andy’s toys once he goes to college. He clearly still cares about his toys and does not want to throw them out but he also is far past wanting to play with them. His mother gives him three options; bring them with him to college, put them in the attic or throw them out. Andy wants to put them in the attic and take Woody with him but his mother mistakes the trash bag for trash and, through a series of events, the toys end up in Sunnyside Daycare Center. They think Andy wanted to throw them out and opt for the promises of love that a daycare center provides. Woody remains fiercely loyal to Andy though and refuses to betray him. The daycare center is run by Lotso, a big magenta bear that appears nice on the surface but really controls the center much like a dictator would and the toys then have to figure out how to escape the pyramid system of the Daycare Center.
There is a lot more going on in this film in terms of story and humor. Visual jokes and reveals are abundant in the film. Particular favorites are the reveal of Chuckles and Mr. Potato Head. The story goes a lot of different place but it would be redundant to go into them. Through the plot it manages to pay amusing homage to film noir and heist films. The new characters are all designed perfectly and fit very well into the world including Lotso, Ken and many more. There are only a few minor complaints; Lotso is eerily similar to The Prospector, we have seen the characters in dangerous situations that involve conveyor belts of some sort before and several bits of dialogue felt a bit stale. Also, this film did not need to be in 3-D. Granted, it is the trend now but still. These are only minor complaints though and this final sequel still delivers in every aspect.
This is largely due to Lee Unkrich’s direction, his first solo effort after having co-directed Toy Story 2 and Finding Nemo. His pacing is spot-on; he is observant and knows when to focus on certain characters. He also succeeds in switching between comedic and dramatic material at the drop of a hat. He also succeeds in continuously creating visual humor with his shots. As was said before, there is a lot more going on in this film story wise, but it is such an original treat that going into the Daycare Center details, the new characters and where the story goes would take away from the joy of seeing it happen onscreen.
The end of the film is to say the least, positively reaffirming and very sad at the same time. It is extremely emotional and comes after the climactic scene which is surprisingly dark and troubling. The end brings everything full circle continuing the cycle of life. The scene also officially gives Andy an arc and proves that these films are about him just as much as the toys. Films that deal with the loss of childhood, time passing, growing up and aging are the most emotionally difficult scenes for me personally to handle. This would explain my deeply intense reactions to films like Up and Where the Wild Things Are. Toy Story 3 examines these issues especially in its final moments. Not only is it possibly the most touching scene Pixar has ever done (a grand statement indeed) but it brings a definitive sense of closure to the series. It is the perfect end to a mostly perfect film that went far beyond expectations and stands as one of Pixar’s most complex, mature, emotional, funny and deeply moving (this cannot be stressed enough) films. When a Hollywood film like this goes so far beyond the complexities, confrontations and pure quality that the genre requires it makes you wonder why a Hollywood film for grown-ups has such a hard time doing the same thing.
Horrorphile