TOY STORY 5 (2026)

June 16, 2026

Greetings again from the darkness. It’s been thirty-one years since I sat stunned in the movie theater after being first introduced to Woody, Buzz, and the entire gang of Pixar toys. It was the year BRAVEHEART won five Oscars and TOY STORY, which marked a shift in filmmaking, won none. That was Pixar’s first feature film and since there was no Animated Feature Film category at the time, the Academy didn’t really know what to do with it. Fortunately, John Lasseter (since fired) and Andrew Stanton certainly knew what to do, as this is the fifth film of the franchise, and they’ve managed to create cinematic magic with each one.

We’ve established that I’m a raving fan for the franchise. Yet with each entry, I still go in concerned that this will be the first dud. I’m relieved and happy to report that the fifth film is funny, colorful, filled with great characters, and maintains the emotional charge we’ve come to expect. Pixar’s Andrew Stanton has been involved with each of the TS films and he’s joined this time by co-director and co-writer McKenna Harris (her first feature). They have managed to uphold tradition, while making the film entirely contemporary and introducing the beloved characters to a new generation (it’s been seven years since TOY STORY 4).

The familiar characters are back, which means most of the familiar voices are as well: Tom Hanks as Woody, Tim Allen as Buzz Lightyear, Joan Cusack as Jessie, Wallace Shawn as Rex, Annie Potts as Bo Peep, Tony Hale as Forky, and Keanu Reeves as Duke Caboon. New to the scene are Scarlett Spears as Bonnie (she’s the third to voice the character), and of course, with the passing of Don Rickles, Estelle Harris, and Jim Varney, there have been new voices for Mr and Mrs Potato Head and Slinky Dog. And yes, Pixar’s good luck charm John Ratzenberger returns as Hamm. Among the others making their first Toy Story credits are the voices of global sensation Bad Bunny as ‘Pizza with sunglasses’, Greta Lee as Lilypad the smart tablet, Conan O’Brien as a ‘specialized’ device, and Mykal-Michelle Harris as Blaze.

This is definitely a female-centric story as Jessie takes the lead role. Woody and Buzz are featured prominently, but Jessie is the one focused on ensuring young Bonnie makes friends. The emphasis on technology is one all parents will recognize. Kids don’t “play” the way they once did, and the story emphasizes how that adds complexity to not just making friends, but also in defining what friendship actually is in this modern world. Smart devices, screens, and tablets have pushed toys to the background – or the garage, or even worse. It’s heartwarming, and sometimes nerve-wracking, watching Jessie and this crew of toys do what they can to help kids hold onto childhood as long as possible.

There are some subplots included regarding Buzz and Jessie, Jessie’s background with previous kids, and the ongoing challenges faced by parents. The animation is as stunning as you’d expect, and Randy Newman returned to compose the film’s score. By now it’s no secret that Taylor Swift, with a writing boost from Jack Antonoff, performs her new song, “I Knew it, I Knew You”, over the closing credits (and stay for the stingers).

DISNEY & PIXAR’S TOY STORY 5 releases exclusively in theaters June 19, 2026. Run time: 1hr 42min

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Posted by David Ferguson

THE POUT-POUT FISH (2026, animated)

March 20, 2026

Greetings again from the darkness. What a welcome relief it is to watch a movie designed specifically for kids. No double entendres or secret winks of wit … just a straight-forward movie to entertain kids and provide a simple life lesson about the importance of friendship. Of course, parents will recognize the title as that of the 2008 mega-bestselling kids book by Deborah Diesen.

There are two key elements that stand out from the beginning. First, the color explodes on the screen, immediately making it enticing for youngsters. This undersea world has the appearance of a candyland or a favorite toy. Second, the demeanor of the Pout-Pout fish is accurately described as glum and gloomy as he sports an ever-present pout. Voiced to perfection by Nick Offerman (Ron Swanson from “Parks and Recreation”) this mopey ‘Mr. Fish’ is said to spread the “dreary-wearies” and deals with his own personality by collecting Zen rocks and living in the remains of a sunken ship, long ago split in half.

Crossing paths with a Pip (Nina Oyama), a spirited tiny seahorse, rattles the world of Mr. Fish, and the two set off on a shared mission that takes them through various communities under the sea, including Jellyfish Junction, Dolphin Cove, and Crystal Cave. The story plays like an underwater road trip movie, and of course, as adults, we easily recognize that this journey with Pip is opening up the world to our grumpy Pout-Pout fish. There are some pieces that the youngest kids may not fit together – starfish spies and the race with cuddlefish – but the dream of Shimmer (Jordan Sparks) is something we all recognize … hope.

This is not a film in the Pixar mode – one that works on multiple levels for kids and adults – but stories that emphasize the power of friendships and collaboration are crucial for youngsters. The only negatives here would be the disjointed music in the first half of the film and the predictability (for older kids and adults). Otherwise, the film accomplishes what it sets out to do … entertain youngsters and offer up an important message.

I watched the film with a couple of the world’s most brilliant youngsters, and here is what they said. Nine-year old Audrey said it was “very colorful” and explored “good and bad” personalities, while eight-year old Jack said it was “Awesome and funny”.

Opening in theaters on March 20, 2026

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Posted by David Ferguson

SCARLET (2026, Japan anime)

February 5, 2026

Greetings again from the darkness. William Shakespeare has inspired so many writers and stories over the years that he often goes unacknowledged rather than credited. Such is the case with this latest from writer/director/animator Mamoru Hosoda with character names such as Amulet, Claudius, and Gertrude. Of course, since this is Japanese anime, the story’s path varies and features unusual and colorful characters.

At its core, this is a story of the pursuit of revenge and the lesson of forgiveness … and how neither is simple nor easy. The question becomes can humankind overcome the natural instincts of using violence and war to achieve revenge or some other desired dominant outcome? As we open in the 16th century, something is most definitely rotten in Denmark. King Amulet is shown no brotherly love by Claudius, an act which leaves Amulet’s daughter, Princess Scarlet seeking vengeance. Unfortunately for her, the plan goes sideways and she’s the one that crosses over.

This is a world where life and death coexist and it’s Scarlet who finds herself in the ‘Otherworld’ while Claudius aims to rule the ‘Infinity’ world. Scarlet’s Otherworld knows no time and is filled with those from all eras. As things often go for corrupt leaders, Claudius also finds himself in the Otherworld, where he and Scarlet are destined to meet yet again. Scarlet partners up with a modern-day paramedic named Hijiri, and in times of war with a goal of revenge, it never hurts to have an EMT friend (or maybe something a bit more serious).

The animation here can be stunning at times, especially the crowd scenes. Yet, what I found most admirable about the film was the message – the lesson we hope humans learn before it’s too late. A world without war … one filled with forgiveness … could be quite beautiful.

The film will receive an IMAX release on February 6, 2026 and expand wide on February 13.

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Posted by David Ferguson

ARCO (2025, animation)

January 29, 2026

Greetings again from the darkness. ‘Arco, phone home’. OK, that’s not actually a line of dialogue in this Oscar nominated animated feature film from w-d Ugo Bienvenu, co-director Gilles Cazaux, and co-writer and Felix de Givry … but the line sure fits. Taking place in the future, the film’s strong themes are family, friends, and coming-of-age.

Hundreds of years in the future, ten-year-old Arco is tending to the family’s animals while his mother, father, and sister are off time-traveling. When told the age limit for such travel is twelve, Arco does what any young boy would do … he snatches his sister’s rainbow travel cloak while she’s sleeping and takes off to see what he’s been missing. Of course, things go wrong for Arco and he crash lands in the year 2075. Young Iris throws the trio of rainbow hunters (comic relief in Scooby-Doo mode) off his trail, and takes Arco home so Mikki, her robot nanny, can provide first aid.

The vibrant colors of Arco’s home are in the style of Studio Ghibli animation, and the bubble homes of Iris’ era speak clearly to the environmental message being delivered. Actually, there are a number of ecological issues covered here, yet the main focus is one of hope and the importance of family and friendship. You’ll notice some familiar voices, including Natalie Portman (also a producer), Mark Ruffalo, Will Ferrell, and Andy Samberg. This is a family film (not for the toddlers) with substance, and it certainly hasn’t been simplified or dumbed down for kids. It’s worthy of the Oscar nomination.

Opening in theaters on January 30, 2026

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Posted by David Ferguson

THE KING OF KINGS (2025, animated)

April 10, 2025

Greetings again from the darkness. We don’t typically look to South Korea for animated children’s stories recounting the history of Christianity, yet this first film from Angel Studio delivers just that … well specifically, the story of Jesus for Easter. Seong-ho Jang has made a name as a Visual Effects expert, and with this directorial debut, he tells the Jesus story in a way that should keep most kids engaged. The screenplay was written by director Jang, Rob Edwards, Jamie Thomason, and Hoseok Sung.

We open with the great Charles Dickens on stage reciting his “A Christmas Carol” to an audience. Backstage, Dickens’ three kids are a bit rambunctious and interrupt the show to the point that tests the patience of Charles. Young Walter, obsessed with tales of King Arthur, is especially troublesome. Upon arriving back home, Charles promises Walter a story with even more adventure and excitement, although the boy is a bit disenchanted that there will be no dragons.

Charles, with an assist from wife Catherine, proceeds to tell the story of Jesus … despite Walter’s initial rebuff of “a baby story”. We watch as the story plays out (often with Walter in the scene), although the movie does periodically bounce back to the study where Charles is weaving the tale and Walter is (mostly) mesmerized. Most of the familiar segments of the story of Jesus are included: the manger, plagues, parting of the Red Sea, John the Baptist, Satan tempting Jesus, feeding the masses. We meet the twelve apostles, and see miracles performed, the story of Lazarus, the Last Supper, Peter’s three denials, Judas’ betrayal, and of course, the crucifixion and the resurrection.

The voice cast is outstanding. Kenneth Branagh is Charles Dickens, while Uma Thurman is his wife Catherine. Roman Griffin Davis voices Walter, the kid whose shenanigans are the reason behind the story. Others include Oscar Isaac as Jesus, Mark Hamill as King Herod, Pierce Brosnan as Pontius Pilate, Ben Kingsley as Calaphus, and Forest Whitaker as Peter. The film is visually appealing and told in a way that kids should easily follow (through the eyes of Walter) … and some will be surprised at the similarities to King Arthur and the Knights of the Round Table.

Opening in theaters on April 11, 2025

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Posted by David Ferguson

INSIDE OUT 2 (2024, animated)

January 11, 2025

Greetings again from the darkness. In the age of sequels, here’s one we can actually give a warm welcome to. Pixar has followed up the brilliant INSIDE OUT (2015) with one that picks up Riley a couple years later as she hits those teenage years, which as all parents know, means puberty. The first film won the Oscar for Best Animated Feature, and director Kelsey Mann (in her first feature film) is hoping for a repeat. This follow-up is terrific, yet it faces some tough competition in a year that also delivered three other exceptional (and worthy) animated features.

I have described this film to a few people as a “must see” for any parent of an adolescent heading towards the teenage years. What we get is a pretty accurate depiction and clear description of some of the changes on the horizon. The emotions from the first film: Joy, Disgust, Fear, Anger, and Sadness evolve into and clash with emotions significantly more complex: Anxiety, Envy, Ennui, and Embarrassment.

Amy Poehler is back voicing the energetic Joy, Lewis Black returns as Anger, as does Phyllis Smith as Sadness. New voices here include Kensington Tallman as (older) Riley, Liza Lapira as Disgust, and Tony Hale as Fear. The new emotions are voiced by Maya Hawke (Anxiety), Ayo Edebiri (Envy), Adele Exarchopoulos (Ennui), and Paul Walter Hauser (Embarrassment). And don’t worry, Pixar good luck charm John Ratzenberger is back as Fritz … along with plenty of other Pixar Easter Eggs throughout.

Riley is a star hockey player hoping to make the big step to the next level as she enters high school. The coach has her eye on Riley and invites her to hockey camp … if only those new messy emotions don’t get in the way. The awkward stage of keeping old friendships (Grace and Bree) while trying to fit in with the older kids is front and center here – and it doesn’t always go smoothly. It’s kind of fun to watch as Joy struggles to make sense of this new world. Suppressed emotions and sarcasm catch her off guard, and she looks to be losing her spot at Riley’s control panel.

As we have come to expect, Pixar visuals are spectacular and play a key role in telling Riley’s story. Maturing is rarely smooth sailing, and the film, co-written by Meg LeFauve and Dave Holstein, pulls no punches. They even include “Pouchy”, a take-off on Toodles from “Mickey Mouse Clubhouse”, as one who can deliver special help when needed. The biggest tug-of-war for control of Riley occurs between Joy and Anxiety, and it’s as painful to watch as it is to live through … although much more entertaining in this context. Pixar has delivered more than just another superb animated film; it’s a starter kit (and cautionary tale) for parents and soon-to-be teens alike.

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Posted by David Ferguson

THE WILD ROBOT (2024, animation)

January 2, 2025

Greetings again from the darkness. With four outstanding animated films released in 2024, this one adapted from Peter Brown’s 2016 book by director Chris Sanders (HOW TO TRAIN YOUR DRAGON, 2010) stands above the others thanks to a tremendous story and fascinating characters. This is one for all ages and all types of movie lovers. It’s simply that good.

A new-age robot washes ashore. With no assigned customer and no programmed task, “Roz” is a bit confused on how best to proceed. This leads to a trip into the forest where she shifts to ‘learning’ mode, and soon enough is speaking to the various wild animals – finding ways to ‘help’ most of them. It’s a terrific opening few sequences drawing us in with awe and surprisingly … character connection. A tragic accident finds an undersized and orphaned gosling basically playing “Are You My Mother?” with Roz. The 1960 book by that name is a kids’ classic written by PD Eastman and edited by Dr. Seuss, and re-read countless times by most parents.

What follows is an incredible adventure featuring many different creatures, each with distinct personalities. Only these aren’t the cartoon characters we are accustomed to seeing in animation. None here are training for a solo on stage or strategizing to escape the zoo. These are wild animals in nature, and sometimes bad things happen … and sometimes good things happen. As bonds are formed and trust gained, it’s wonderful to see the community come together. Much/most of the story revolves around three outcasts: Roz the robot who is searching for her task, Brightbill the gosling who is ignored by the skein of geese migrating, and Fink the fox whose loneliness matches his sly manipulations.

A talented and deep voice cast includes Lupita Nyong’O (Roz), Pedro Pascal (Fink the fox), Kit Connor (undersized and orphaned Brightbill), Bill Nighy (Longneck, leader of the geese), Stephanie Hsu (Vontra, leader of the retrieval bots), scene-stealing Matt Berry (Paddler the beaver), Ving Rhames (Thunderbolt, hawk), Mark Hamill (Thorn the grizzly bear), Catherine O’Hara (Pinktail the possom). It’s a lineup of celebrities, but this is no ego exhibition. The characters are developed and story is multi-faceted. Some scenes are tense, while others are capped with humorous moments (“male bovine excrement” cracked me up). There is an overall guiding message of kindness, cooperation, and putting others ahead of self.

The film’s score is by Oscar winner Kris Bowers, and Dreamworks, in their ongoing rivalry with Pixar, has delivered depth and artistry instead of the usual cash grab on project for kids. Without a specific task to complete, Roz manages to be a guiding light for Brightbill and a partner to Fink, all while being an asset to the community … even though she looks a bit worse for wear by the end. For those who typically shy away from animation, this one is worthy of a watch. This is expert filmmaking.

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Posted by David Ferguson

WALLACE & GROMIT: VENGEANCE MOST FOWL (2024, animated)

December 28, 2024

Greetings again from the darkness. They’re back! The last ‘Wallace & Gromit’ short film was in 2018, and their last feature-length film, WALLACE & GROMIT: THE CURSE OF THE WERE-RABBIT, was released in 2005. Creator Nick Park is back as co-writer and co-director with fellow W&G collaborators Mark Burton and Merlin Crossingham, respectively. This creative consistency is crucial to the franchise success, and helps overcome the 2017 passing of Peter Sallis, longtime voice of Wallace.

Ben Whitehead fits seamlessly as the voice of Wallace, the master inventor of contraptions and gadgets – gadgets that sometimes make simple tasks a bit more complicated, though quite entertaining. Wallace’s loyal, observant, and intelligent pet beagle is Gromit – a non-speaking pooch who emotes through eyes and body language, often expressing annoyance, frustration, or concern. If you’ve seen the films, the shorts, or the TV series, you are familiar with the set-up, though this one takes on somewhat of an ominous tone early on.

When the story begins, Wallace is an esteemed local hero having contributed to the capture of the Blue Diamond Thief. It turns out the thief is none other than Feathers McGraw, the dastardly penguin of the 1993 short film, WALLACE & GROMIT: THE WRONG TROUSERS. Wallace introduces us to his newest and most contemporary invention: Norbot (Reece Shearsmith), a ‘smart’ garden gnome programmed to help with chores around the house. In an obvious swipe at Artificial Intelligence (A.I.), the wily penguin hacks into Norbot from the confines of his (zoo) cell, setting off an army of robotic gnomes. His plan is to gain revenge on Wallace.

As a viewer, I find so much joy in the creativity on display. In fact, the storytelling and character development is superior to much of what passes for movies these days, and I found myself purely satisfied with the entertainment value and the comedic elements that generated welcome laughter. Peter Kay is back to voice now Chief Inspector Mackintosh, the frazzled leader, while Lauren Patel voices PC Mukherjee, the officer with good instincts. The stop-motion animation visuals are better than ever (especially in the action sequences), and it’s a pleasure to find an entertaining film for all ages (even if it slyly sneaks in a message here and there). The franchise dates back to the first short film in 1989 and if you are unfamiliar, I recommend getting to know Wallace & Gromit.

Opens in theaters on January 3, 2025

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Posted by David Ferguson

FLOW (2024, animated)

December 5, 2024

Greetings again from the darkness. Cats tend to be solitary creatures. And by ‘tend’ I mean about 99% of the time. In this superb animated fable from writer-director Gints Zilbalodis (AWAY, 2019) and co-writer Matiss Kaza, our protagonist is a cat who learns (and teaches us) that a community working together is more powerful than any single being working alone.

Clocking in at a brisk 84 minutes, the film opens with the cat gazing at his own reflection in the river. After a frantic chase with dogs on it’s trail, the cat escapes back to the house where he was once cared for by a cat-loving carpenter who has presumably since passed away. After a thundering herd of deer run by, a massive flood hits the forest and sends the cat scurrying for higher ground. The adventure begins … and though there are some similarities to other animal journey movies, this one is unique in its approach.

Zilbalodis has utilized no humans or human voices. The animal sounds are actually recorded animal sounds specific to each critter (no cute voiceovers). The exception is the capybara, where a camel’s recording is used instead. Much of the time is spent on a floating sailboat filled with an odd group of animals: our ever-present cat, the capybara (sleepy but loyal), a labrador (playful and friendly), a ring tail lemur (collecting all sorts of items along the way), and a large white bird ( I believe an African secretarybird who steers the boat despite a broken wing).

As you might imagine, this group of misfit sailors learn that survival depends on getting along and working together. Their teamwork is quite impressive, even as they encounter obstacles, and their own conflict – which leads to a stronger bond. This is not the hyper-realistic animation we’ve recently seen with animals, but the movements are extremely true-to-form for each of them. Zilbalodis includes some mystical elements, but as a fable, the message is that community and teamwork are stronger than solitude, and the final shot reinforces this. The filmmaker purposefully avoided any particular geographic locale (as noted by the various species) in order to ensure the deeper message is not lost. This is Latvia’s Oscar submission, and it will likely gain support in the animation category.

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Posted by David Ferguson

MEMOIR OF A SNAIL (2024, animated)

November 7, 2024

Greetings again from the darkness. If you believe that animated films should be whimsical fairy tales developed for children, Adam Elliot would like a word. Actually, he would like about 90 minutes of your time to introduce you to an entirely different approach with stop-motion animation. Elliot won an Oscar for his animated short HARVIE KRUMPET (2003) and also developed the excellent animated feature MARY AND MAX (2009). Not one to shy away from grown-up topics, Elliot’s latest is a gem filled with most every emotion.

Relying heavily on narration, the story is told by Grace Pudel (voiced by Sarah Snook, “Succession”). It’s her own life story, but contrary to what the film’s title would have you believe, Grace is a person, not a snail (at least not a shelled gastropod). However, she is telling her story to her favorite pet snail, Sylvia. It’s OK if that sounds a bit strange, because Grace and her story will draw you in and have you caring very much. The story starts at the beginning … with Grace’s premature birth ahead of her twin brother Gilbert (Kodi Smit-McPhee).

Grace chaperones us through her early years. These were not easy years as mom died early on, and dad was an alcoholic paraplegic with sleep apnea. Mostly we learn about Grace and her collection (hoarding) of snails she kept in a glass jar with Vegemite for their nutrition. She tells us about her beloved brother Gilbert’s love of animals, reading, magic, and fire. When their dad dies, Child Services sends Grace and Gilbert to separate foster homes in different parts of Australia. It’s not just geography that makes a difference. Grace is fostered by a couple of self-help gurus who are also swingers (it’s not a movie for kids). Gilbert is sent to live with a harsh religious cult family demanding work while offering no love.

The twins maintain contact through letter-writing, and Grace fills in some of the details for us. Her story includes a romance with Ken, a neighbor who loves his leaf blower and has a certain fetish that takes Grace a while to uncover. She also forms a special bond with Pinky, and older lady (voiced brilliantly by Jacki Weaver) who teaches Grace to relish life. While Grace often lives inside a shell, much like her pet snails, she does treasure her time with Pinky, whose final letter is touching.

This is an all-too-ordinary life told exquisitely (that’s me trying to avoid saying ordinary and extraordinary in the same sentence). The emotions are overflowing and range from grief to sadness to frustration to anger to hope. Elliott includes nods to literature, roller coasters, Parisian street performers, guinea pigs, and nudist camps (possibly a first in the animated world). We also see the dark side of religion and the importance of friends and family. Grace truly lives the circle of life, as she learns that snails have no choice but to live in the shell under which they are born, but she does have a choice. The score from Elena Kats-Chernin is beautiful and fitting, and Elliot leaves us with this thought: “Life can only be understood backwards, but we have to live it forwards.” So get busy living!

In theaters on November 8, 2024

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Posted by David Ferguson

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