Tag: Pixar

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Lightyear

Pixar Animation Studios, 2022

After inadvertently stranding his ship and all its inhabitants on a harsh, unforgiving wasteland of a planet, Buzz Lightyear (Chris Evans) launches a series of desperate test missions to ensure the colony can one day escape. When the latest of these missions goes awry, Buzz finds himself having to depend on a group of oddball fellow space rangers (Keke Palmer, Taika Waititi & Dale Soules) in order to save the colony from the evil Zurg (James Brolin) and find his place amongst the stars.

Rating: 7 out of 10.

Starring: Chris Evans, Keke Palmer, Peter Sohn, Taika Waititi, Dale Soules, Uzo Aduba & James Brolin

Watch it now in cinemas

Pixar Animation Studios, 2022

Lightyear exists both as a whole new franchise and a backdoor prequel to Toy Story – the film that supposedly sparked Andy’s obsession with Buzz and subsequent purchase of the toy. It’s an unnecessary connection that really only serves to trade off the goodwill afforded it through the Buzz Lightyear name; this is far closer to Pixar’s attempt at a gritty space adventure in the vein of Ridley Scott’s The Martian or, surprisingly, a more existential piece like Blade Runner 2049, than it is a goofy adventure. And sure you could get lost in the minutiae of inconsistencies the film creates with Toy Story but these are movies based on toys and spacemen, so let’s not do that.

All that is to say that Lightyear feels as if it would fare much better as Pixar’s attempt at a brand new space adventure, rather than carrying this convoluted baggage of a beloved established franchise with it. The story it tells is amongst Pixar’s more middling offerings; a perfectly serviceable, if predictable ride that constantly propels itself forward with exciting action and solid humour, but one that rarely surprises or offers anything truly emotional outside of an early montage. Where a fresh start may have presented Pixar with a chance to really hone in on developing a story that hits with the emotional depth of their other work, Lightyear feels constrained by its Toy Story ties, and like Buzz himself, unable to reach its full potential.

Pixar Animation Studios, 2022

Where the film isn’t held back is in its visuals. Lightyear is consistently jaw-dropping to look at and, as with almost every new Pixar film, their most gorgeous film to date, proving that the veteran animation studio remains dedicated to being on the cutting edge of the genre technologically. Going back and comparing this to Toy Story on a purely visual level is proof of just how far animation has come, with close to photorealistic character models (not including the gravity defying size of Buzz’ head) and dense, richly populated landscapes creating an optical treat at every turn. The stunningly realised sunsets and hyper-galactic travel sequences compete with even the most lavishly produced live-action sci-fi, a feat that works, for the most part, to effectively mask the story’s shortcomings.

Much was made of the decision to cast Captain America himself, Chris Evans, in the titular role, taking over from series veteran Tim Allen. The change is slightly jarring at first and it does take some time to get used to after the instant recognisability of Allen’s performance, but Evans performs admirably, imbuing his voice with a range of emotions that effectively capture Buzz’s development and the lowering of his walls as the adventure progresses. It is Peter Sohn’s SOX, however, that steals the show. A robotic cat companion gifted to Buzz, Sohn demonstrates terrific comedic timing; his deadpan delivery always manages to score a laugh and acts as the perfect foil to Buzz’ militaristic attitude. Also along for the ride are Palmer, Waititi and Soules as a ragtag crew of space ranger rookies with varying phobias and foibles. They’re all voiced with heart and humour, but not all manage to take off in their own rights; one note characters whose arcs are fun but safe.

Pixar Animation Studios, 2022

That really is the defining label for Lightyear: safe. Pixar’s latest doesn’t take the usual story risks the boundary-pushing animation house is known for, delivering a fun but forgettable adventure. The excellent technical innovation and solid voice acting do well to counteract those shortcomings, but can’t shake the sense that we’ve seen this all before in one way or another in other places. An enjoyable enough time, but not quite to infinity and beyond.

7 / 10

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Movie Reviews Reviews

Luca

Pixar Animation Studios, 2021

The Disney Pixar combination has been responsible for some of the most charming, heartwarming and genre-defining films for as far back as many of their fans can likely remember. Many of their poignant, coming-of-age stories are designed to shine a spotlight on what are often real-world social or personal issues that we have all likely faced at some point or another. These themes are then unpacked and resolved across bright and colourful worlds by larger-than-life characters who often carrying flaws all too familiar to us as an audience. It’s a formula that continues to delight audiences of all ages, and one that Enrico Casarosa’s Luca delivers on beautifully. It’s not one of the most complex or layered examples to join the catalogue of other Pixar films, but instead it’s a story that seems to revel in its freedom and simplicity. By focusing on just a few key themes, Luca manages to explore each of them deeply – ultimately crafting one of the brightest and most charming adventures you’ll find on screen this year.

A quick opening act introduces the audience to titular character Luca (Jacob Tremblay), a young ‘sea monster’ who has grown tired of tedious days spent farming alongside his protective family and combing the sea floor for relics of the world on the surface. Things suddenly take a turn when he meets Alberto (Jack Dylan Grazer), another young monster who takes Luca under his wing and introduces him to life above the water. After discovering that his form changes to that of a human when on dry land, Luca decides to join Alberto on an adventure to the local seaside town where they intend to begin a life of freedom on the road. Things become complicated when the pair discovers that their dream may not be as easy to achieve as first expected, and that the local humans have pretty strong feelings about Luca’s kind.

Pixar Animation Studios, 2021

It’s a plot that hits many familiar beats, but Luca manages to put enough of an original spin on things to keep the story fresh and exciting. You’ve seen other films explore the challenges of friendship, growing up and being different, but have you seen them delivered by colourful Italian sea creatures? It also keeps things fairly lighthearted for the most part, steering clear of some of the more dramatic plot twists or dire villains that similar films play to really turn the emotional screws. Casarosa hits a specific tone with the film, drawing on his childhood life and friendships to craft a world that somehow feels both foreign while also as welcoming as a long overdue trip home.

This general vibe comes largely from the characters of Luca, who collectively go a long way to create a lively community while showcasing the Italian culture. Both Tremblay and Grazer bring a youthful energy and passion to Luca and Alberto respectively, helping their on-screen bond to be as strong as the story demands. Luca’s mother Daniela (Maya Rudolph) and father and Lorenzo (Jim Gaffigan) fill the roles of anxious, overprotective parents that will be familiar to fans of similar films, however they hit their key moments effectively without dragging on the adventure’s momentum too much. One of the most influential characters comes in the form of young human girl Giulia (Emma Berman), who meets the boys as they arrive in town while she struggles with her own identity issues and obnoxious local bully Ercole (Saverio Raimondo). Berman brings an infectious positivity to her character, which immediately endears her to the audience and injects enough energy into the story to keep things flying high until the credits roll. Special mention also goes out to Giulia’s father Massimo (Marco Barricelli) and cat Machiavelli, who both play strong, silent types until it’s time to deliver some of Luca’s more touching and lighthearted moments.

Pixar Animation Studios, 2021

All of these characters and the world around them are brought to life even more by Luca‘s stunning visuals both above and below the sea. As expected from a Disney Pixar film, no corner has been cut when it comes to creating a colourful and vibrant cast of characters and backdrops. The crystal clear sea and rolling hills surrounding the idyllic Italian town deliver what most of us would dream a European seaside looks like on the edge of summer. Similarly, each of the characters have personality traits and stories woven into them simply through their appearance, with the famous animation studio working their usual magic to make each character come alive with colour and emotion. Its particularly hard to refer to Luca and Alberto as ‘sea monsters’ when their water forms are made up of beautifully coloured, coral-like scales that flow on the water as the two glide along from one picturesque spot to another.

These strengths all help Luca secure a spot among Disney Pixar’s huge catalogue of poignant, thoughtful and visually impressive successes. It may not revolutionise the genre or take any of its themes to strange, new places, but it still manages to deliver a mesmerising tale that should strike a chord with audiences of all ages, featuring an inventive plot that is enough to set it apart from much of the rest. With a gorgeous Italian setting full of charismatic characters, Luca is like a breath of warm summer air among the darker, more intense films doing the rounds at the moment. Let it brighten up your winter this year, unless you really have something against pasta, sunshine or harmless, bicycle-riding sea creatures.

Pixar Animation Studios, 2021

Luca stars Jacob Tremblay, Jack Dylan Grazer, Emma Berman, Saverio Raimondo, Maya Rudolph, Jim Gaffigan & Marco Barricelli – streaming now on Disney+.

Rating: 8.5 out of 10.

8.5/10

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Movie Reviews

Soul

Pixar Animation Studios, 2020

What happens when we die? How do we find our purpose in life? When does passion for something turn to obsession? These are the lofty questions asked by Soul, the latest film from premier animation studio Pixar and veteran director Pete Docter. Does the film answer all these questions? The answer is a resounding yes, in typical Pixar weep-inducing fashion no less, with the story of struggling music teacher and wannabe jazz musician Joe’s (Jamie Foxx) journey through the afterlife filled with heart, humour and a fascinating examination of the human experience. Whilst it may place too much focus on its mature story at times and not enough on making things fun and enjoyable for younger audiences, this is a resounding return to form for Pixar after the somewhat lackluster Onward earlier this year.

Joe is in a rut. Resisting the call of a steady full-time job, he slogs through his part-time music teacher gig by day as a means to support his true passion: jazz. When a former student offers him the chance of a lifetime to play in the jazz quartet of legendary Dorothea (Angela Bassett), Joe jumps at the chance… and in his excitement jumps all the way to his untimely, accidental demise. This is where our story truly begins as Joe’s soul is given an opportunity to mentor 22 (Tina Fey) – a particularly difficult young soul who has spent thousands of unsuccessful years attempting to find her purpose for living – in exchange for a shot at his own life again and the chance to fulfil his lifelong dream. Along the way, the pair begins to understand more than they ever could have imagined about life itself and the joys to be found in the little things, with epiphanies flying left, right and centre as they learn their true places within the world.

Pixar Animation Studios, 2020

Soul is an impressive feat of animated storytelling in multiple regards, perhaps most importantly it might just be the best looking animated film ever made. Every frame is filled with groundbreaking, jaw-dropping visuals; from the crisp, photorealistic vision of New York, where Joe resides, to the ethereal, abstract quality of the training ground for young souls, the “Great Before”. Buildings are well-worn and populated in the city that never sleeps, capturing all the tiny details from cracks and chips in the bricks to faded stickers and graffiti on the subway. The jazz club Joe frequents looks spectacular, like something plucked straight out of La La Land, with its hazy neon sign and dimly lit, smoky interior providing the perfect backdrop for the captivating scenes of Joe performing in his element as he gets into “The Zone” – itself a visual marvel of vivid shades of blue and purple swirling around the musician as the rest of the world fades to nothingness. This sumptuous visual palette follows Joe wherever he goes, as his soul falls through strikingly abstract scenes of black and white lines on his way to the “Great Before”, which is rendered in brilliant baby blues and light purples, a calm and welcoming place for souls to learn about the world, in stark contrast to the dank wasteland of lost souls.

As you can probably tell from some of the locations I’ve just talked about, Soul is an incredibly original film, one that takes these great questions of the human experience and attempts to answer them through the personification of souls and their journey to find their “spark” – that lust for life and thirst to experience being human that qualifies them to be placed into a human body. Young souls bubble and bounce around with exuberance, not aware of the hardships of life and filled with sheer optimism. A great moving walkway ferries souls towards a great white abyss after they die, counted by an abstract guardian, Terry (Rachel House) who later pursues the renegade Joe. Similar abstract figures – the Jerry’s – act as guides to these fresh souls, teaching them all the things that make a human unique, and guiding them towards attaining their pass to enter a body. It’s all incredibly inventive and these otherwise undefinable aspects of the human experience are prime real-estate for the Pixar team to experiment to their hearts content, creating a world that makes these heady concepts palatable for younger audiences through visually arresting imagery and an accessible story filled with excellent messages for children to learn. In a way, Soul feels like the perfect companion piece to the studio’s earlier hit Inside Out. Where that film brought the emotional struggle within a human being to the forefront, Soul focuses on things external to the body, the many facets of life that make it worth living and that people connect to.

Pixar Animation Studios, 2020

The story of Joe is at once recognisable and universal, one of discovering what makes you unique and what gets you out of bed in the morning and ready to dive into life. Jamie Foxx gives a deeply layered and nuanced performance in his portrayal of the teacher, a man who wholeheartedly believes his spark is music and will listen to no one else if it does not pertain to his goal, teetering dangerously close to obsession. We’ve all been in Joe’s shoes at one point, having taken an interest or hobby too far and needing to be reminded that there is so much more to life than this one thing. This relatability and relevance only makes the emotional impact late in the piece hit that much harder and in typical Pixar style you’ll require plenty of tissues on deck if you hope to survive to the end. The impact of those final moments is heightened by Joe’s companion 22’s journey.

The not so young soul has been around for some time now; completely apathetic towards life, she has burned through strings of mentors (deceased souls who have moved on to train the next generations) from throughout history, told within one hilarious montage. Her journey from hatred to a complete lust for life is wonderfully laid out and hits emotional notes like Joe does piano keys. It’s a truly beautiful story that’s only real flaw comes in the fact that there isn’t much focus placed on fun for the younger audiences. The presentation certainly seems kid-friendly, but the decidedly mature story doesn’t seem like it resonates with those without much experience with life and while it certainly does pack some good lessons in, there’s something to be said about the lack of adorable side-characters or visual, slapstick gags that usually populate a Pixar adventure. It’s a small complaint but one that does seem a little off-brand given the studio’s usual target audience.

Pixar Animation Studios, 2020

Pixar’s Soul is nothing short of a masterpiece of animation. The culmination of all the technical wizardry the studio has cultivated over more than 20 years has led to the most visually stunning animated film ever created, with clarity and inventiveness in its imagery that will astound audiences of all ages. Its beautifully told story may not strike a chord with younger audiences, but like those ten minutes in Up, it touches emotion after emotion as it dissects the human experience and perfectly renders those small feelings of joy and wonder in the little things that make life great, on the way to a complete tearjerker of a finale. Soul is filled with humour, heart, imagination and most importantly, touches your own soul with that Pixar magic. Essential viewing.

Pixar Animation Studios, 2020

Soul stars Jamie Foxx, Tina Fey, Graham Norton, Alice Braga, Rachel House, Richard Ayoade, Daveed Diggs & Angela Bassett – Streaming on Disney+ now.

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Movie Reviews

Onward

Disney, 2020

I get excited for a new Pixar movie. Almost everyone I know does. There’s something special about the studio that has created some of the best animated all movies of all time, something magic. Magic is certainly the name of the game with the studio’s latest release Onward – the story of two elf brothers living in a society where reality lives in harmony with fantasy, embarking on a cross-country road trip to retrieve a spell which can revive their father – and for the most part it succeeds, even if the story gets lost in some tropes and drags in the middle. Whilst it may not sit at the top of the pedestal of the studio’s releases, Pixar and director Dan Scanlon manage to bring enough heart and emotion to the story to carry you through the gorgeously animated environments. Combined with the terrific voice-work led by Chris Pratt and Tom Holland, clever pop-culture riffing jokes and that Pixar charm, Onward is a film more than worth your time; a solid addition to the Pixar canon, even if you won’t see yourself going back to it as often as some of their other classics.

Onward tells the story of Ian (Tom Holland) and Barley Lightfoot (Chris Pratt), elf brothers who could not be more different in their personalities. Where Ian is shy and cautious in his approach to life, struggling to make friends and really stand out in his world, Barley is loud and bombastic, constantly getting into trouble as he crusades for the conservation of magical artefacts left over from ancient times, believing that magic could still be as prominent as it once was if people just believed again. On Ian’s 16th birthday, the boy’s mother Laurel (Julia Louis-Dreyfus) presents them with a gift from their father Wilden (Kyle Bornheimer), who died shortly before Ian was born: a magical staff from yesteryear. Powered by the Phoenix Gem Wilden has entrusted his sons, Ian discovers he has the ability to wield the staff, attempting to perform a spell of his father’s own design which will resurrect him for 24 hours to spend with his family. When Ian’s inexperience causes the spell to malfunction and the gem to shatter, the boy’s are left with a pair of sentient legs belonging to their father, and a quest to recover a long hidden Phoenix Gem in order to finish the spell and see their fully fleshed father.

Disney, 2020

A huge strength for Onward lies in the world building. Within the opening 10 minutes you have a complete understanding and appreciation for this extremely original concept: the melding of reality with fantasy. Trolls and Elves live in Mushroom houses on suburban streets, driving cars and playing video games just like the rest of us. Raccoons raiding garbage cans are replaced with rabid Unicorns and children attend school in a castle, learning everyday subjects like Maths and Sociology. It’s a clever device that adds a ton of charm to an otherwise fairly clichéd road trip buddy movie. You’ve seen the story enough to know that the boys will encounter troubles along the way and their relationship will be tested but you don’t care because everything around that story visually is just so delightful and jaw-dropping to look at. This extends to the jokes too, which for the most part, play off the unexpected, such as dangerous bikers in the form of 3 inch tall Pixies. One joke that doesn’t pay off so much however, is the character of Wilden, the boys father, or rather his legs, as he is seen as throughout the film. There’s something inherently stupid about seeing a pair of disembodied legs flailing around the place that elicits a giggle, but it gets old quickly for the older members of the audience, who admittedly, the film isn’t for, but Pixar adds enough jokes in for the adults to keep a smile on everyone’s faces.

The story is a different, more complicated beast. The central relationship between Ian and Barley is amazing, a true highlight that will leave you weeping openly in your seat in true Pixar fashion. Based on Dan Scanlon’s own family dynamic, there is a real focus on brotherly love and the lengths we go to as a family to stick together and that relationship works here in large part thanks to the casting of Pratt and Holland. The two Marvel superheroes have tremendous chemistry, really selling the brotherly bond and love between them, as well as the insecurities that go along with growing up without a father figure. As Ian struggles to find his path he looks up to his big brother, who is also struggling to move ahead without his father to guide him. Both actors deliver top notch performances, giving the story a lot of emotional weight and proving that their on-screen chops can easily translate to the animated space. This extends to the supporting cast too with Julia Louis-Dreyfus and Octavia Spencer turning in solid work as the boy’s mother and a fearsome restaurant owning Manticore respectively. While they are good in the film, the storyline they are given isn’t as high quality. Acting as a kind-of dull side quest to the boy’s mission, Laurel and the Manticore attempt to track the brothers to stop them from unleashing an ancient curse. There’s some good banter between the two and an attempt at fleshing out the mother’s devotion to her children but the storyline really just detracts more than it entertains, cutting away from the boys and causing the whole film to lose momentum as a result.

Disney, 2020

Onward isn’t a particularly original film for Pixar. It follows the studio’s tried and tested formula of encasing a familial bond within an engaging story and world and letting the lessons and emotion come organically. We’ve seen it done before with Woody and Buzz in Toy Story and Mike and Sully in Monsters Inc. and for good reason: it works. Whilst Onward doesn’t reach the levels of those films, what makes it stand on its own is the packaging of a realistic world merged with the fantastical. It is the film’s greatest strength outside of Pratt and Holland, disguising the shortcomings of the narrative with sheer charm and jaw-dropping visuals. When the time comes to hit the audience with emotional punches, Onward lands them, bringing the journey to a satisfying close and making you happy you stuck through the sometimes unevenly paced story. It’s a ride well worth taking and whilst the plot may fade from your memory, the emotions you felt and the Pixar magic never will.

Disney, 2020

Onward stars Tom Holland, Chris Pratt, Julia Louis-Dreyfus & Octavia Spencer – Available to purchase digitally worldwide and streaming on Disney + in America now and in Australia on April 24.

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Movie Reviews

Toy Story 4

Disney/Pixar, 2019

The Toy Story franchise is one close to many children’s (and adult’s) hearts; the studio defining 1995 hit was a watershed moment for computer generated animation which combined advanced technology with a story full of heart and lovable characters. The sequels that followed were equally as good, if not better – inspiring and entertaining children around the globe and sparking a child-like joy in the adults that watched them. Fears arose in fans when a third film was announced 11 years after its predecessor – some believing that Pixar was simply cashing in on the franchise. These fears were quickly put to rest as the film was a smash hit and a critical darling, showing that whilst Pixar may have had some missteps, it was still very much in control of the Tory Story series. Despite this, the announcement of a fourth film stirred up that same fear in fans, somewhat understandably as Toy Story 3 seemed like the perfect bookend to the franchise. Yet again these fears were proven wrong however, as Toy Story 4 is another stellar entry filled to the brim with plenty of heart, laughs, life lessons and incredible characters that is sure to put a smile on everyone’s faces.

The toys’ fourth outing centres around Woody (Tom Hanks) coming to terms with his role as a toy for new owner Bonnie. Having been the apple of previous owner Andy’s eye, Woody isn’t accustomed to not being the favourite and finds himself being passed over when playtime rolls around. When Bonnie brings home new “toy” Forky (Tony Hale) – a creation made out of a plastic spork, googly eyes and popsicle sticks – Woody is understandably a little miffed, but he also recognises the importance of the self-made toy in helping Bonnie cope with school. Forky is suffering from his own existential crisis, believing his purpose is to be used once and thrown in the trash, and Woody takes it upon himself to help Forky realise just how important he is to Bonnie and what it truly means to be a toy. When Woody and Forky are separated from the rest of the group, it is up to them – as well as a host of characters both new and old such as Buzz (Tim Allen), Jesse (Joan Cusack), Bo Peep (Annie Potts), Ducky (Keegan-Michael Key), Bunny (Jordan Peele) and Duke Caboom (Keanu Reeves) – to work together to get Forky back to Bonnie.

Disney/Pixar, 2019

As with all of Pixar’s greatest films, Toy Story 4 is anchored by a central theme: finding one’s place in the world. For Woody, his purpose has always been making Andy happy and he has thrived off seeing Andy grow into his own fully fledged person. Naturally Woody assumes that things will go much the same with new owner Bonnie, but life has other plans. The emotional core of the film centres around Woody coming to terms that he is not Bonnie’s favourite toy like he was Andy’s, yet still having that instinct at his core to see Bonnie happy and fulfilled. He is willing to sacrifice his own happiness if it means that other toys can go on and make Bonnie happy, and this compromise really weighs on Woody as he also yearns for his own personal happiness. Enter Forky, who acts as a physical representation of the opposite view to Woody: where Woody believes his purpose is to help ensure Bonnie’s happiness, Forky believes he is destined for the trash and goes to great lengths to achieve this and ensure his own happiness. The companionship between these two toys allows for a real exploration of the concept of purpose, as both characters come to understand each other’s point of view. It’s a complex concept sold in a visually stunning, funny and endearing way that really appeals to kids and teaches as well as entertains.

Whilst the animation and laughs are always top notch, audiences flock to the Toy Story films for the characters. Children from the 1990’s have grown up with these characters and their adventures and understandably have a special place in their hearts for Woody, Buzz, Jesse and the gang. It might come as a blow to some viewers, therefore, that the film chooses to narrow its focus on Woody and his internal crisis. He is undoubtedly the lead and whilst we get plenty of screen-time from other characters (mostly new), don’t go into it expecting to see much of your favourite supporting characters like Slinky or Rex. This laser focus on Woody and his immediate surroundings works for the story being told and helps the audience understand his mindset; we’re along for the ride with Woody and are experiencing this wider world of toys as he does. Speaking of which, Toy Story 4 branches into unmarked territory for the series as this is undoubtedly the scariest film in the franchise and I was shocked at the horror elements on display and how unsettled I was by certain scenes. On the flip side of this, it’s also the funniest film in the series by far with the addition of comedy sketch duo Key and Peele a stroke of genius. The pair play stuffed animal carnival prize toys who have clearly been strapped to the prize wall for too long given their imaginative and warped views on what is happening around them. Key and Peele obviously have great chemistry and the incessant banter that bleeds from their scenes at the forefront into the background is so good and consistently funny – I could happily listen to the hours of recorded dialogue that was ultimately scrapped.

Disney/Pixar, 2019

With the film anchored by Woody, it’s no surprise here that Tom Hanks gives a stellar performance. The character is second nature to Hanks at this point and the way he uses his voice to convey Woody’s emotional state is spectacular. Combine that with Pixar’s best animation to date and the end result is a completely immersive film that really sucks you into the story. Tim Allen reprises his role as Buzz and is quite frankly a little shortchanged here as the character’s involvement in the story seems like more of an afterthought. Allen works well with what he’s given and at this point it’s just reassuring to have Buzz along for the ride, in whatever capacity that may be. Where the voice acting really gets interesting is in the new additions to the cast, mainly Tony Hale as Forky and Keanu Reeves as Duke Caboom. Tony Hale has made a career out of playing excellent side characters on shows such as Veep and Arrested Development, but he really gets a chance to shine here as the voice of the googly-eyed spork, transferring that excellent comedic timing over to the big screen. Forky gets a chance to play off just about every major character and its almost a guaranteed laugh every time as Hale utilises a range of vocal techniques and grunts to hilarious effect. It’s no secret that 2019 belongs to Keanu Reeves and the role of Duke Caboom only adds to his impressive list of credits this year. Reeves’ voice is instantly recognisable at this point and half the fun of having him in this role is hearing John Wick himself voice the Canadian motorbike stunt rider with PTSD from his previous owner. It’s a charming character and the little French-Canadian touches Reeves provides really add to the performance. Last but certainly not least is returning side character Bo Peep, played by Annie Potts, who has been promoted to co-lead this time around. It’s a complete change for the character who has gone from little more than a bit part to a fierce, independent adventurer intent on discovering all the world has to offer without the constraints of belonging to one child. Potts plays this strong aspect of the character perfectly but really shines in showcasing Peep’s vulnerability. She misses the companionship of Woody and despite enjoying her life of freedom longs for that connection.

Toy Story 4 is another rousing triumph for Pixar. A film that not only justifies its existence but which furthers the franchise in every conceivable way: characters, emotional depth and comedy just to name a few. The new additions to the cast are incredible and each new character brings a different flavour to the narrative; be it Bo’s emotional connection with Woody or Forky’s waxing philosophical about trash. Pixar once again proves that they are the industry gold standard in animation and audiences should rush to see this film in the theatre, where it will surely break box office records. If you had any doubts about a fourth film in the franchise, then they will almost certainly be put to bed, and if Pixar decides to continue with the series at this standard, well they can go to infinity and beyond.

Disney/Pixar, 2019

Toy Story 4 stars Tom Hanks, Tim Allen, Annie Potts, Tony Hale, Keanu Reeves, Keegan-Michael Key, Jordan Peele & Christina Hendricks and is in cinemas now.