MAYDAY (2026)

September 3, 2026

Greetings again from the darkness. I guess we were due for a “Cold War Buddy Comedy”. And who better to deliver than co-directors John Francis Daley and Johnathan Goldstein, the team behind GAME NIGHT (2018) and DUNGEONS & DRAGONS: HONOR AMONG THIEVES (2023). This time out, they deliver excellent visuals to go along with stellar comedic chemistry between first class wisecracker Ryan Reynolds and expert straight man (and Oscar winner) Kenneth Branagh.

Reynolds stars as hotshot Navy pilot Troy Kelly, nicknamed “Assassin” for not-so-heroic reasons held at bay until near the film’s end. The year is 1987, which is forty years into the Cold War, and Reynolds is shot down while on a Top-Secret reconnaissance mission deep into Russian territory. A terrific visual effect has us following Troy’s ejection and fiery parachute down towards a very rough landing. He’s rescued by Nikolai Ustinov (Branagh), who it’s soon learned is a former KGB agent. Now living like a hermit miles from civilization, Nikolai prefers to be called ‘Nick’ and is thoroughly obsessed with all things American, especially TOP GUN … of which his prized possession is a Kramer-style bootleg of the film shot in a theater.

We are treated to a Jackie Chan-style bar fight, where Nick surprises with advanced skills. This forces the two men on a road trip, where Troy hopes he can be returned to freedom, and Nick hopes his efforts to save Troy will result in the ultimate relo to the U.S. for him and his daughter (an underused Maria Bakalova). While on this road trip, the men are being pursued by an ambitious and relentless Soviet agent played by Marcin Dorocinski (MISSION: IMPOSSIBLE – DEAD RECKONING PART ONE, 2023). Other memorable visuals include a chase scene through a parade involving a nuclear missile launcher and fisticuffs midflight while the plane door is open.

Cinematographer Barry Peterson deserves credit for visuals that maintain the pace of the Reynolds – Branagh back-and-forth, and the accompanying Bruce Springsteen songs don’t hurt either (a result of the Boss selling off his catalog). David Morse has a small role as Troy’s dad, but the subplot feels a bit slapped on, even if it doesn’t really distract from the overall entertainment value delivered by this latest Daley-Goldstein project. A key element on display is how both sides fall prey to propaganda.

The film will be released globally on Apple TV on September 4.

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Posted by David Ferguson

COYOTE VS ACME (2026)

August 27, 2026

Greetings again from the darkness. For those of us who grew up belly-laughing at Looney Tunes, the characters are considered sacred ground, so a bit of anxiety hits when movies like SPACE JAM (1996) hit the big screen. This especially holds true for this latest from director Dave Green, since we know so many of the beloved characters will be on display. Samy Burch (MAY DECEMBER, 2023) adapted the screenplay from a 1990 article in “The New Yorker”, with an assist from James Gunn (SUPERMAN, 2025) and Jeremy Slater (FANTASTIC FOUR, 2015). The blend of animation and live action is reminiscent of the 1988 classic, WHO FRAMED ROGER RABBIT.

The two opening scenes set a high bar. A tongue-in-cheek title card reading “Based on a True Story” leads to the two action sequences. Dr. Lorre frantically escapes from Acme Labs and the more familiar pacing of Wile E Coyote trying (yet again) to nab the Road Runner serve as an introduction to the endless stream of Acme products that the amazingly persistent Wile E Coyote has used during his decades long bird chasing. Persistence is usually an admirable trait, though in this case it has led to his stockpile of gadgets and his shot in court … once he sees the advertisement by local law firm Avery, Jones, and Maltese (a nod to original Warner Bros animators Tex Avery, Chuck Jones, and Michael Maltese). Will Forte plays lawyer Kevin Avery whose catchphrase is “There’s always someone to blame”. Avery is a lazy lawyer and his specialty is quickly settling damage suits and then moving on to the next one.

Think of Kevin Avery’s approach as similar to what we saw on “Better Call Saul”. Avery’s hand gets forced when Wile E Coyote’s case against Acme becomes massive – thanks to Avery’s niece Paige (an excellent Lana Condor) – and a settlement collapse with Acme’s arrogant lead attorney, Buddy Crane (John Cena in alpha-male mode) falls through. Paige’s idealism contrasts with Avery’s skepticism and Crane’s over-confidence, making for quite a show in the courtroom run by Luis Guzman’s judge.

Many scenes were filmed in Albuquerque, New Mexico – one of Bugs Bunny’s favorite spots – and the desert landscape makes for the perfect setting. Wile E Coyote is the epitome of a silent movie star, and we are reminded that he has ‘a limited number of signs’ for communicating. He has long been the aggressor and is now the victim seeking justice … going against the powerful mega corporation. Along the way, we see many of our Looney Tunes favorites, including Daffy Duck, Granny, Tweety Bird, Elmer Fudd, Yosemite Sam, Witch Hazel, and Foghorn Leghorn (as Acme’s CEO). Many of the voices are provided by the great Eric Bauza – though of course, the legendary Mel Blanc lives on in our hearts (and ears).

Looney Tunes has long magically combined silliness with seriousness. This film (along with the human characters) play it straight, which ensures the comedy lands perfectly. Warner Bros had previously shelved the project (for tax purposes) prior to finding the new distributor. Even the politics and finances of Hollywood couldn’t stop this crew. The legacy of these iconic cartoon characters remains intact, and Looney Tunes fans will surely be satisfied. Meep Meep.

In theaters beginning August 28, 2026

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Posted by David Ferguson

DON’T SAY GOOD LUCK (2026)

August 14, 2026

Greetings again from the darkness. “Break a leg.” The well-meaning phrase dates back many years as a way to avoid the dreaded ‘good luck’ for someone preparing to perform on stage. When high school sophomore Sophie explains this to her mother, the mom hugs her and offers how bad she would feel if her daughter actually broke her leg. Such is the love of a mother … this particular mother … in this heartfelt movie from director Julia Hart, who co-wrote the screenplay with her husband Jordan Horowitz and Laura Hankin. It’s based on Ms. Hankin’s own personal story.

Sophie is played by Sunny Sandler (daughter of Adam, who also produces the film). She’s nervous for her audition for the “Waitress” musical at school. A butt dial from dear old dad (Max Greenfield) unwittingly clues her in to the return of mom’s (Melanie Lynskey) cancer. This happens just before Sophie’s turn on stage, and the real emotions shown impress the director (Stephanie Beatriz) and win her the lead role. Sophie’s big moment is tempered by her mom’s horrible news.

Sophie’s grandparents (Steve Buscemi, Bebe Neuwirth) arrive to ‘help’, and while grandpa offers driving lessons, grandma overreacts to everything, bringing more stress to an environment already on edge. So, while emotions are in overdrive, the comedy relief is provided by Jon Lovitz (a Sandler favorite) at the family bagel shop. The laughs are welcome due to the intensity of emotions shown by both mother-daughter relationships, and the BFF dynamic between Sophie and Carolyn (Scarlett Estevez). Plenty of teen angst and grown-up drama is on display, yet Ms. Sandler, and especially Ms. Lynskey both deliver such believable and strong performances, that the scales never tip.

Drama on the school stage would be enough for most teens, although life often delivers more than what seems fair. Mom wants Sophie to pursue her dreams, while Sophie doesn’t want to miss a moment with her mother. Plenty of tears flow, and yet, the interactions and situations mostly are handled in a way that seems realistic and true-to-the-moment.

Premiering on Netflix on August 14, 2026

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Posted by David Ferguson

OLMO (2026)

August 6, 2026

Greetings again from the darkness. Olmo is like most fourteen-year-old boys. His visual fantasizing about the girl of his dreams requires nothing more than a toy car and a glimpse of her walking outside. Yet, Olmo is also different than most his age because he shares caregiving responsibilities for his disabled dad, who is stricken with Multiple Sclerosis. It’s been more than a decade since he last directed a feature film, and writer-director Fernando Eimbcke delivers one of his best. He and co-writer Vanesa Garnica also collaborated on this year’s FLIES, which is currently making the festival rounds (including Cannes).

Alvan Uttapa stars as Olmo, and he perfectly captures the essence of a teenage boy trying to figure things out in Las Cruces, New Mexico in the late 1970’s. He and his older sister Ana (Rosa Armendariz) have a never-ending argument that goes like this, “Your turn.” “No, your turn.” This is in reference to whose turn it is to help their father Nestor (Gustavo Sanchez Parra) with the many things he is unable to do on his own now that the disease has rendered him mostly helpless to control his body.  Their mother Cecilia (Andrea Suarez Paz) takes as many double shifts as possible at the diner so that the family can fight the near-eviction notices that arrive frequently.

When Nina (Melanie Frometa), Olmo’s object of desire, invites him and his best buddy Miguel (Diego Olmedo) to a big party, she has only one condition … bring the stereo. Olmo is giddy with excitement, and only has two obstacles: first, it’s ‘his turn’ to care for dad, and second, the stereo needs repair. This leads to a tremendous scene with Nestor talking the boys through how to troubleshoot and fix the (era-specific) stereo. It’s here where we get the full impact of Nestor wanting so much to be the father he was before the disease. The once proud man hears the bickering over whose turn it is, and feels the frustration of being a lesser dad who can’t even stop his daughter from smoking. But the stereo repair restores some of that feeling … even if only for a moment.

Olmo and Miguel together are a hoot, and the comedic touches elevate the film from generic coming-of-age to a multi-dimensional story of a family grounded in real life issues. Olmo has the desires of a normal teenage boy, Ana wants to be part of the “in crowd” (she spends much of the movie in bright white roller skates), Nestor wants to be an involved father, and Cecilia wants to take care of the family while tending to her own needs. This is an era before cell phones, and a backyard grill becomes a (further) point of contention between Nestor and Uncle Julio. Even Walter Murphy’s disco classic, “A Fifth of Beethoven” has a place in this story.

Immigrant parents (Nestor and Cecilia) raising Americanized kids (Olmo and Ana) means both English and Spanish are spoken at home … often in the same conversation. Sometimes everyday life creates huge tensions and stress for all family members – and sometimes it’s a specific event. This time, that specific event awakens Olmo. Director Eimbcke gives us a shot near the beginning of the film that is actually the film’s ending … a smooth move for the filmmaker. This feels like it could have been a documentary, which is a testament to how family life is so well captured.

In theaters nationwide beginning August 7, 2026

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Posted by David Ferguson

THE DINK (2026)

July 23, 2026

Greetings again from the darkness. In 2004, we had a film based on dodgeball, so it only makes sense that the hottest game going these days, Pickleball, gets its shot on the big screen. Josh Greenbaum (WILL & HARPER, 2024) directs a screenplay from Sean Clements (“Workaholics”), and the result is a comedy in the realm of films like HAPPY GILMORE (1996), KICKING & SCREAMING (2005), and yes, DODGEBALL: A TRUE UNDERDOG STORY (2004). The film tries (too) hard to generate laughs, and its best moments seem to be in the sincere intergenerational bond between two otherwise mismatched characters.

Jake Johnson (“New Girl”) stars as Dustin Boyd, a one-time tennis prodigy whose pro tennis career was derailed by a wrist injury. Having been cultivated from an early age by his father (think Todd Marinovich), the collapse of his career also caused a break in his relationship with dear old dad, Chuck (Ed Harris), who now owns and runs a prestigious tennis club where he allows Dustin to train rich kids … although he spends most of his time telling stories about ‘what could have been.’ As the popularity of pickleball grows, tennis traditionalist Chuck fights the pressure from the pickleball contingent led by Skip (the always great Patton Oswalt). A quirk in the club by-laws sets up a duel – a match between the tennis proponents and the pickleball group.

Circumstances shove Dustin into the pickleball universe, and it’s this route that offers him a shot at regaining dad’s respect. Actually, pickleball is prescribed to him by his unconventional doctor played by Ben Stiller (also a producer on the film). Dustin thinks the new game is hokey, but he finds a true friend in Candace (Oscar winner Mary Steenburgen). This contrasts with RJ, his loyal assistant at the club (played by Aaron Chen, George on “Fisk”), who worships Dustin, but hesitates to call him out. Dustin and Candace are surprisingly good together – not just as pickleball partners against Gail (Cleo King) and Judy (the late Lynne Marie Stewart, Miss Yvonne on “Pee-Wee’s Playhouse”) – but as true friends.

The duel – traditional versus contemporary – ends exactly how you would expect, and it’s elevated by surprise appearances from a couple of real life tennis legends during the match. Jake Johnson is at his comedic best in slightly awkward situations, but much of this one is so obvious and generic, it’s difficult to give much credit to the comedy. The use of Country music and the classic film, THE GRADUATE (1967) are especially nice touches, as are supporting roles from Christine Taylor (Stiller’s wife) and Martin Kove (THE KARATE KID). The pickleball fans out there deserve their moment on the big screen, and they will hopefully find a few more laughs than I did.

THE DINK will premiere globally on AppleTV on July 24, 2026

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Posted by David Ferguson

THE LEGEND OF JUAN JOSE MUNDO (2026)

July 16, 2026

Waco Independent Film Festival 2026

Greetings again from the darkness. For those who are itching to re-live the glory days of 1984 high school, writer-director Michael Walker and co-writer Susan Gomes are here for you. The surprising part is that even for non-Gen X viewers, the film is so well crafted and acted, that it flows beautifully as a time capsule for the era. As if that’s not enough, it’s also based on a true story.

Relative newcomer Anna Mirodin shines as Julie, a Jewish high school junior in suburban New York (White Plains). She’s a good student … trusted by her teachers, and a good girl … who admits she’s “never done anything with a boy.”  Her best friend, Suzanne (Hannah Kepple, “Cobra Kai”, and a Dyan Cannon lookalike) is a bit more adventurous and tries to coax her friend into being more assertive in pursuing her desires. The perfect opportunity arises for Anna when Juan Jose Mundo, arrives from Spain as the exchange student assigned to stay at her house during his trip.

Juan Jose Mundo (Alexandro Byrd in his first feature film) is a charming, handsome, gregarious young man with proper manners around parents and the charisma to attract high school students of both genders. It’s quite entertaining to watch Juan quickly embed himself into the basement parties and other activities of Julie’s classmates – all while her reserved nature prevents her from sharing her feelings with him. Along the way, we are treated to the ‘treasures’ of 1984, including the family station wagon, the tied-to-the-era fashion choices, the music (much of which now seems comical), the blatant racism, and the politics that generated a Mondale/Ferraro bumper sticker on said station wagon. Especially prevalent is the presence of mix tapes as a flirtation strategy. Despite ringing true to the period, much of what’s included acts as a painful reminder of 1984.

Admittedly, teen comedies aren’t my usual cup of tea, yet Walker and Gomes fill a void that’s existed since the days of John Hughes … this is a smart movie about teenagers, and it even serves up a life lesson, if you can find a teen to listen. On the surface, it doesn’t seem to be a story about the danger of those years, but in fact, it’s a cautionary tale about teen desire, confusion, frustration, and peer pressure. We even have awkward parents and an obnoxious sibling on display. Kudos to the cast and filmmakers for refusing to dumb down the material for their audience.

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Posted by David Ferguson

GAIL DAUGHTRY AND THE CELEBRITY SEX PASS (2026)

July 9, 2026

Greetings again from the darkness. As a huge fan of THE WIZARD OF OZ (1939), I admire the homage paid to the classic film by writer-director David Wain (WET HOT AMERICAN SUMMER, 2001) and his co-writer Ken Marino, collaborators on ROLE MODELS (2008) and WANDERLUST (2012). In fact, there are long-term shared comedic genes noted throughout the list of cast, crew, and filmmakers here … with quite a few running through the “Reno 911!” franchise. If that’s not hint enough, I’ll repeat what I’ve written many times over the years: comedy tastes are quite diverse, and some will laugh heartily at this one, while others will be baffled as to what is so funny.

Zoey Deutch, fresh off her fine work in last year’s NOUVELLE VAGUE and ANNIVERSARY, plays the titular Gail from Kansas (the first Oz reference), a perky hairdresser engaged to her high school sweetheart Tom (Michael Cassidy). Fred Melamed is the local postal worker/narrator who promises a crazy community story – one which takes very little time getting underway. Casual conversation ends with Tom explaining to naïve Gail what a Celebrity Pass is, and the couple heads to a cookbook reading by Jennifer Anniston, who just happens to be Tom’s recently mentioned celeb of choice. You can guess what happens next.

Stunned by the events, Gail heads to Los Angeles with her best friend and fellow hairstylist Otto (not Toto), played by Miles Gutierrez-Riley. The two hope to meet their favorite hairstylist Remy Fontaine (Thomas Lennon) at the national conference and of course, Gail hopes to even the score with Tom by tracking down her own CSP, Jon Hamm. The trip kicks off a ‘spot the celebrity cameo’ for viewers, beginning with Henry Winkler at LAX. This photo op leads to Gail’s suitcase being mistakenly swapped with another – unknowingly putting the mob (led by Sabrina Impacciatore of “White Lotus” fame) on her trail. If it seems a bit preposterous, just know that much of the comedy is purposefully of this ilk.

In addition to a psychic reading and a stop at the infamous Chateau Marmont, there is a celebrity map vendor played by Michael Ian Black, and other sightings, including Kerri Kenney, Richard Kind, Weird Al Yankovic, Penn Jillette, Elizabeth Banks, Elizabeth Perkins, and Paul Rudd. However, it’s kindred spirits in John Slattery (a nice “Mad Man” touch), CAA agent-in-training Caleb (Ben Wang), and a paparazzo (co-writer Ken Marino) who views Jon Hamm as his photographic white whale, who travel with Gail in search of her conquest.

For some, the various vignettes will provide the humor they desire, and even for those who comedic itches are not scratched, the zany madcap tribute to THE WIZARD OF OZ may be creative enough to keep you engaged.

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After a festival run at Sundance and Tribeca, the film opens in theaters on July 10, 2026
 

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Posted by David Ferguson

THE INVITE (2026)

June 26, 2026

Greetings again from the darkness. This is at least the eighth film adaptation of a story by Cesc Gay: THE PEOPLE UPSTAIRS (Spain, 2020), VICINI DI CASA (Italy, 2022), THE NEIGHBORS FROM UPSTAIRS (Switzerland, 2023), V DOBREM I ZLEM (Czech Republic, 2024), NEPRILICHNYE GOSTI (Russia, 2024), MAYBE MORE (France, 2024), THE PEOPLE UPSTAIRS (S Korea, 2025). Clearly, it’s a story and situation that resonates with many couples, regardless of geography, language, or culture … and director Olivia Wilde provides an American spin with assistance from co-writers Will McCormack (Oscar winner, TOY STORY 4) and Rashida Jones (“Parks and Recreation”).

In addition to directing the film, Ms. Wilde also stars as Angela, who is married to Joe, played by Seth Rogen. We see a bored Joe barely paying attention to the school band his job requires him to conduct, and he then trudges home on a folding bicycle that he wrestles through every possible obstacle. When he arrives home, Angela is putting the finishing touches on dinner party details … and the two immediately begin bickering over everything either of them says or does. Angela is high-strung and intent on making a good impression with the upstairs neighbors she has invited, while Joe makes no promises about avoiding the topic of wall-shaking sexcapades those same neighbors engage in, regularly disrupting his serene evenings of pot smoking.

The stage is set for an evening of conflict, and although it begins amicably enough, things do spiral into an emotional hurricane that creates more noise and emotion than any of those intrusive sounds Joe despises. Oscar winner Penelope Cruz is Pina, and Edward Norton plays her boyfriend Hawk. These are coy and cool personas who are sizing up Angela and Joe, for reasons most will identify almost immediately.

The first half (or more) of the film seems designed as a set up for a stream of Seth Rogen one-liners, and judging from audience reactions at the screening, these quips will strike a chord with his fans. However, there is a lot more going on here than merely a platform for punchlines. Relationships are often complicated by a lack of communication, and that’s on full display here. Sex is a huge part of their marital problems and an even bigger part of the evening’s conversation, yet sex is more of a conduit to underlying issues that may be exposed before this party ends.

The four characters are consistently unlikable, and yet, this works thanks to the proficiency of the actors, the message delivered by the story, and the expert direction by Olivia Wilde. She previously directed DON’T WORRY DARLING (2022) and BOOKSMART (2017), the latter of which was excellent. This story and setting seem to be a better fit for the stage than the screen, yet Ms. Wilde ensures the pacing and movements within the apartment are precise and keep us engaged. There is a certain audience that will be drawn to the Seth Rogen comedy, while some will be caught off guard by the relationship tension. For some viewers, there is a certain pleasure to be found in comparing the film to the Mike Nichols classic, WHO’S AFRAID OF VIRGINIA WOOLF? (1966). As uncomfortable as it is to watch, some will find solace and relief that their own relationship hasn’t fallen this far (hopefully).

SELECT THEATERS JUNE 26, EVERYWHERE JULY 10

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Posted by David Ferguson

THE GET OUT (2026)

June 26, 2026

Greetings again from the darkness. So what is it that differentiates this one from the many other crime-comedies that have come before? The truth is … not much, but maybe just enough to keep fans of the genre tuned in. It certainly has an intriguing cast, and writer-director Derrick Borte (back with his UNHINGED star) and co-writer Daniel Forte have adapted the 2010 Thomas Perry novel, “Strip”.

Oscar winner Russell Crowe stars as Manco Kapek, an Albanian immigrant who has been in the United States for twenty-plus years. He runs a successful Los Angeles nightclub that he converted from a strip joint, explaining that one must be willing to change with the times. The club’s bookkeeper is Sunny (an enchanting Teresa Palmer, THE FALL GUY, 2024), who is also Manco’s much younger, but very devoted, girlfriend. Also in the mix is Spence (Benedict Hardie, HACKSAW RIDGE, 2017), Manco’s (mostly) trusty assistant. A cardiac incident jolts Manco into thoughts of retirement, and he contacts Joe (Luke Evans, BEAUTY AND THE BEAST, 2017), a New Jersey transplant who has previously expressed an interest in buying the club.

Next up, we have college professor Jeff (Aaron Paul, “Breaking Bad”), one the most high-strung and polite robbers we’ve seen … well, until bank teller Carrie (Nina Dobrev) forces him into a partnership. She’s giddy for crime and is obsessed with the movie, POINT BREAK. Two other key characters are Detective Slosser (Josh McConville, ELVIS, 2022) and Rodriguez (Daniel Zovatto, “Penny Dreadful: City of Angels”). It’s Rodriguez’s money that makes Manco well-to-do and puts him in danger.

So, here’s the lineup of what Borte’s film delivers: armed robbery, murder, a shootout, drugs, drug cartel money, money laundering, arson, a car explosion, off-key karaoke, a Viagra overdoes, extortion, a double-cross, and somehow … a large bear (possibly a grizzly, but I’m no expert). I lost count on the number of twists and turns, but these are certainly the film’s focus rather than character development or character connection. Crowe’s screen presence is always off-the-chart, and he’s coming off an underappreciated performance in NUREMBERG. He plays Manco with his tongue planted firmly in cheek. The film is entertaining enough for those who just want simple entertainment for an evening, and it even ends with the Gipsy Kings’ version of “Hotel California” (Spanish).

Opens in select theaters on June 26, 2026 and On Digital and On Demand June 30.

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Posted by David Ferguson

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

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