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

WATCH THE TRAILER

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Posted by David Ferguson

HELLO, MY NAME IS DORIS (2016)

March 18, 2016

hello my name is doris Greetings again from the darkness. Hollywood has long ignored the pushback on its habit of casting younger women as the love interest of older men. In most of those movies, the relationships are treated as normal and expected. In the few movies that turn the tables, a relationship between an older woman and younger man is typically treated as either comedy or scandal … consider Harold and Maude (1971) and Notes on a Scandal (2006). In this latest film, writer/director Michael Showalter (The Baxter) and co-writer Laura Terruso strive to balance heartfelt emotions with situational laughs.

Sally Field returns to leading lady status as Doris, a never-married frumpy accountant in her late 60’s who has been living in her childhood home whilst caring for her ailing mother … hoarding everything from magazines to packaged food seasoning to a single water ski. The film begins with the open casket funeral of Doris’ mom, and we see her brother (Stephen Root) and his obnoxious and rude wife (Wendi McLendon) immediately pounce on Doris to clear out the clutter and sell the house. They even set her up with a hoarder specialist/therapist (Elizabeth Reaser) who finds the case quite challenging.

The real fun in the movie begins with a close encounter in the office elevator, when Doris and her cat-eye glasses come face to face with a handsome and charming young man who offers up a compliment – something Doris rarely experiences. Of course, a few minutes later, we learn the young man is John (Max Greenfield, “New Girl”), the new artistic director in Doris’ office. For years, Doris has depended upon cheesy romance novels to supply the fantasy in her life, and now the lessons from that reading kick into full gear.

It’s a night out with her best friend Roz (Tyne Daly) that results in a chance interaction with a cocky motivational speaker (Peter Gallagher) whose catchphrase is “Every week has seven days. None of them are named Someday”. He leaves Doris with this thought: “Impossible means I’m possible”. When combined with those romance novels, Doris now sees a realistic chance for love if she pursues the man of her dreams … the aforementioned (and half her age) John.

With the help of Roz’ teenage granddaughter (Isabella Acres), Doris learns how to Facebook stalk, and soon enough ends up at a concert with John’s favorite techno band, Baby Goya and Nuclear Winters (led by Jack Antonoff of Fun.). John and his group of hipster friends are enamored with Doris’ vintage clothes and quirky sense of style and speech. She soon finds herself posing in spandex for Baby Goya’s album cover, going to dinner parties, and joining a rooftop knitting group of millennials.

Judging by the boisterous laughing by women in the theatre, this is a prime GNO flick for women of all ages. Most of the comedic situations seemed pretty obvious and predictable, and I found some traits of Doris to be less than appealing. However, as a statement on what happens when the outside world passes by, and generational gaps become almost impossible to bridge, the film makes a bold statement on real friendship between mature women. It poses the question, what determines whether a personal awakening is real or imagined?

Sally Field (turning 70 in 2016) gives a terrific performance, and it goes much deeper than someone who puts her reading glasses on top of her regular glasses and wears giant bows in her giant hairpiece. Ms. Field has excelled in such previous work as “Sybil” (1975), Norma Rae (1978), Places in the Heart (1983), and Lincoln (2011). She understands comedy and human drama, and as Doris … you’ll kind of like her. You’ll really kind of like her!

watch the trailer:

 

 

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Posted by David Ferguson