By Jeffrey Sanzel
A film that aims to explore the pains of growing up, that endeavors to touch on love and loss, on sense of self and self-worth, takes on a huge challenge. That the movie aspires to a balance of humor and honesty makes it even more challenging. That an animated feature is told through the eyes and voices of toys seems impossible. However, as seen through the first three Toy Story movies, it is more than attainable. In a franchise that grew in both depth and art with each film, finding more laughter and more tears, it is the exception to every rule. The newest addition, Toy Story 4, is certainly one of the best films of the year.
Here are 100 minutes of pure entertainment, alternating between laugh-out-loud funny and poignantly touching, in a film that never feels like a sequel. It plays on multiple levels, providing jokes and slapstick, clever asides and deep insights, so that audiences of any age will be completely engaged from start to finish.
Woody (the always marvelous Tom Hanks) now belongs to Bonnie (Madeleine McGraw) but has been put aside for cowboy Jessie (Joan Cusack). This does not change Woody’s mission to make sure Bonnie is taken care of at all times. When Bonnie reluctantly goes to kindergarten, she finds solace in creating Forky, crafting him from a spork, googly eyes and a pipe cleaner — an opportunity that Woody engineers. Forky becomes Bonnie’s obsession and solace. What she doesn’t realize is that Forky (a scene-stealing Tony Hale) does not want to be a toy. Eventually, guided by Woody, Forky learns his value.
Toy Story 4 is what we have come to expect in the series without ever feeling like it is a repeat of its earlier chapters. The movie includes a wild road trip, a dazzling carnival and a range of hijinks and colorful characters that make for a nonstop adventure.
Eventually, the crew is reunited with the now self-actualized Bo Peep (a sly and knowing Annie Potts) who has found freedom in being a “lost toy,” living a full life in what can only be labeled renegade and off the grid with a posse of like-minded toys. Much of the latter half of the film also centers around an antique shop, ruled by Gabby Gabby (a flawlessly wicked Christina Hendricks) and her minion of ventriloquist dummies. Gabby Gabby is, at first, the villain of the story; but there is much more to her and her journey.
The film features many returning voices including Tim Allen as Buzz Lightyear (comically learning to listen to his inner voice), Wallace Shawn as the neurotic Rex, John Ratzenberger as Hamm, Blake Clark as Slinky Dog, Estelle Harris as Mrs. Potato Head, Don Rickles as Mr. Potato Head (from archival recordings), Timothy Dalton as Mr. Pricklepants, Bonnie Hunt as Dolly and Carl Weathers in a terrific running joke as three different Combat Carls. All of them deliver incredibly enjoyable performances, mining the most of their individual and team moments.
Newcomers include Keegan-Michael Key as Ducky; Jordan Peele as Bunny, an outrageous plush pair; and Keanu Reeves as Duke Caboom, a second-rate Evel Knievel toy. There are wonderful cameos from Mel Brooks (Melephant Brooks), Carol Burnett (Chairol Burnett), Betty White (Bitey White) and Carl Reiner (Carl Reineroceros).
Josh Cooley, whose directorial credits include The Incredibles, Cars and Up, has beautifully guided the entire film. The excellent screenplay is by Stephany Folsom and Andrew Stanton (with a total of eight people credited with “story by”). The literally hundreds of artists who worked on the picture have contributed to an emotionally seamless and visually stunning whole.
If the ending doesn’t pack quite the emotional punch of Toy Story 3, it is still wholly satisfying, bringing to a close a classic and heartfelt odyssey. While perhaps not perfect, Toy Story 4 comes pretty close.
Rated G, Toy Story 4 is now playing in local theaters.