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

2 Comments | Animation, Comedy, Fantasy | Tagged: , , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

AMSTERDAM (2022)

October 7, 2022

Greetings again from the darkness. Sometimes no matter how hard we try to like a movie, it simply doesn’t work for us. In those instances, I typically attempt to focus on what I did like and offer an explanation of why it fell short of expectations. And it’s that word, “expectations”, that is usually the culprit. High expectations often lead to disappointment, whereas ‘low’ or ‘no’ expectations at least have a shot of ending up a pleasant surprise. So when the writer-director of SILVER LININGS PLAYBOOK (2012) and THE FIGHTER (2010) rolls out his first film in seven years, and his cast is filled with Oscar winners, Oscar nominees, and other talented actors … well, high expectations are in order. Unfortunately, so is the disappointment.

David O Russell is the filmmaker noted above, and despite some disturbing accusations made against him recently, his cinematic track record and ability to attract deep and talented casts and crews make his new project something to check out. This one is inspired by the true story of a1933 political conspiracy, and that’s where the story begins before flashing back to 1918 and ultimately returning to 1933. It’s during the flashback where we see the beginnings of the friendship between Burt Berendsen (Oscar winner Christian Bale) and Harold Woodman (John David Washington). It’s here that we also witness the presence of racism in the military during the Great War. When Burt and Harold are injured, they are cared for by nurse Valerie Voze (Margot Robbie). Harold and Valerie fall in love, and third wheel Burt joins them as a roommate in Amsterdam, where they live a blissful bohemian existence … right up until Burt returns home to his wife and Valerie vanishes.

Returning to 1933, we find Burt is a doctor experimenting with multiple medical options focused on injured war veterans, and Harold is a distinguished lawyer. Burt has a scarred face and glass eye from his war injuries, and Harold has been contacted by the daughter (Taylor Swift) of their former commanding officer (Ed Begley Jr). The daughter suspects foul play in the death of her father, who was scheduled to give a speech at an upcoming military reunion gala. Ms. Swift’s appearance is in fact swift, and leads to the murder and scandalous autopsy findings.

Going through all that happens next would be as convoluted on paper as it was on screen. There are so many characters and so many story lines and so many familiar faces that the film couldn’t possibly be expected to flow smoothly. And it doesn’t. A mention of some of the supporting cast includes standout Anya Taylor-Joy as the wife of filthy rich Tom Voze played by (Oscar winner) Rami Malek. When the murder occurs, Burt and Harold are the prime suspects of the detectives played by Matthias Schoenaerts and Alessandro Nivola. Andrea Riseborough plays Burt’s estranged and ultra-snobby wife Beatrice, while Chris Rock is another old war buddy of our wrongfully accused murder suspects. Robert DeNiro (another Oscar winner) plays General Gil Dillenbeck (who we learn is based on real life Major General Smedley Butler). Others making an appearance include: Michael Shannon and Mike Myers as American and British spies, Timothy Olyphant as an undefined henchman, Zoe Saldana as the autopsy nurse, and the always dependable Colleen Camp and Beth Grant. Now you understand what I mean by so many characters and familiar faces.

All of the actors are as strong as you would expect. Mr. Bale and Ms. Robbie go “big”, while Mr. Washington stays in a low-key mode for balance. The film has an unusual look through the camera of 3-time Oscar winning cinematographer Emmanuel Lubezki, and seems to be filled with an endless stream of close-ups shot upward at the subject’s face. It’s not a whodunnit since we see the crime happen, and instead is more of a “we must solve the case to avoid prison” – kind of a quasi-comedy caper film, only they aren’t trying to get away with anything. It’s also not quite a farce, and is a madcap with a shortage of “mad”. We see the power play between various factions that catches the unsuspecting types in the crosshairs, while raising points of fascism, antisemitism, and racism. The film meanders when it’s not downright choppy, and it often plays like a scripted series trying too hard to appear improvisational. I believe the message is the power of friendship and love wins over the lust for power, however it’s hard to know for sure. Drake as an Executive Producer adds an element of interest, but as a movie, this one mostly falls flat despite the efforts of a sterling cast.

Opens in theaters on October 7, 2022

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6 Comments | Comedy, Drama | Tagged: , , , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

WHERE THE CRAWDADS SING (2022)

July 14, 2022

Greetings again from the darkness. This is the kind of movie that requires upfront disclosure: have you read the book or not? Since it was number one on New York Times best seller list for 2019 and 2020, and remained on the list for almost three years, it’s a legitimate question and likely the driving force behind Reese Witherspoon producing the film. I have not read the book and came in with only a few preconceived notions, and enough background information to make it more interesting, not less. This is director Olivia Newman’s first film since her debut FIRST MATCH (2018), and Lucy Alibar (BEASTS OF THE SOUTHERN WILD, 2012) adapted the screenplay from the enormously popular novel written by Delia Owens.

Kya Clark is the youngest child of Ma (Ahna O’Reilly) and Pa (Garret Dillahunt). We get a quick glimpse at their strained existence in the marshes of Barkley Cove, North Carolina in 1953, including the violent abuse administered by Pa. It doesn’t take long for her parents and siblings to abandon her, leaving young Kya (JoJo Regina) to fend for herself in what most would consider a harsh environment. But Kya becomes one with nature. Though illiterate, she draws and charts local bugs, bird, and water creatures, while scrounging out a meager living thanks to assistance from local black store owners, Jumpin’ (Sterling Macer Jr) and Mabel (Michael Hyatt).

Daisy Edgar-Jones (“Normal People”, FRESH, 2022) plays older Kya, the one townspeople refer to as “Marsh Girl”. Sensitive local boy Tate (Taylor John Smith) shares Kya’s interest in nature and teaches her to read and write … surely having little to do with her being the prettiest marsh girl you’ve ever seen. When Tate heads off to college, adding another to the Kya abandonment roster, she’s pursued by local rich boy Chase (Harris Dickinson). This becomes another in the film’s storylines when Chase turns up dead after a fall from a fire tower. Despite no footprints, no fingerprints, and very little evidence, Kya is charged with murder and faces the death penalty. A local nice guy attorney (David Strathairn) takes the case and shy, withdrawn Kya provides little help in her defense.

So let’s chat about what’s good and not so good. The Kya character is fascinating and certainly worthy of being the centerpiece of a story. There are similarities to other stories about those who were raised outside of society. NELL (1994) and Tarzan come to mind, but despite the marsh environment, Kya never is a wild creature, and only as a child do we see her dirty and unkempt. This is a flaw, as Kya should be more raw and primitive … at least until her mentoring by Tate. It’s a mystery how Kya is as smart and clean and refined as she appears, since it’s mostly just the store owners who provide even a dash of support. The structure of the film is decidedly fluid – bouncing from timeline to timeline and from story to story. This kind of structure requires superb writing, something that just isn’t in the cards. The courtroom drama and murder case against Kya are especially lightweight and sloppy. Most of it makes little sense and bears almost no resemblance to what an actual trial would look like. Instead, it’s slick for dramatic effect.

The cliches are to be expected, and Ms. Edgar-Jones is to be commended to making the most of a role that often requires her to sit with bowed head or gazing at nature. The narration is odd, with an inordinate number of words jumbled up to initially differentiate between a marsh and a swamp. The love story seems pulled directly from a romance novel, and in fact, that’s probably the best description of his, rather than a murder mystery. Chase and Tate are textbook examples of the extremes of men, and Kya’s Pa adds fuel to the argument that most men are experts at letting down women. Kya’s attention to nature and emphasis on survival instinct vs morality are used multiple times to guide us toward the ending, which evidently is supposed to be a twist reveal. Cinematographer Polly Morgan inserts some nice shots of nature, and the music from Oscar winning composer Mychael Danna (LIFE OF PI) is excellent. Taylor Swift’s new song, “Carolina” plays over the closing credits. It’s not likely a film that will win over anyone who wasn’t a fan of the book, but those devoted readers will surely be on board.

It should be noted that a story more interesting that what we see in the movie, is the real-life events of writer Delia Owens and her husband from their twenty plus years in Africa. This includes a murder case with some curious similarities to what she wrote about. If you are interested, track down the 2010 New Yorker article, “The Hunted”, researched and written by Jeffrey Goldberg.

Opens in theaters July 15, 2022

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3 Comments | Drama | Tagged: , , , , , , , , , , , , , , , | Permalink
Posted by David Ferguson

CATS (2019)

December 19, 2019

 Greetings again from the darkness. Director Tom Hooper must really enjoy this process. In 2012 he brought mega-hit stage musical LES MISERABLES to the screen. It was nominated for 8 Oscars and won 3, including one for Anne Hathaway. This time, Mr. Hooper again turns his talents towards a colossally successful stage musical, and costumes, make-up, and visual effects are even more crucial. Whereas Les Mis was adapted from Victor Hugo’s novel, CATS was adapted by songwriter Andrew Lloyd Webber from a 1939 poetry collection of T.S. Elilot. Of course, Mr. Webber is also the genius behind other brilliant musicals, including THE PHANTOM OF THE OPERA (from the novel by Gaston Leroux).

Tom Hooper and Lee Hall have adapted the screenplay from the stage presentation, and the sung-through musical approach means there is minimal dialogue. Songs are used to tell the story and introduce the key characters. Choreographer Andy Blankenbuehler (a 3-time Tony winner, “Hamilton”) is the real star. Multiple dance styles are featured, including: classical ballet, contemporary, hip-hop, and traditional tap. The dancing is tremendous, and of course, a big part of that is Francesca Hayward, who plays new kitten on the block, Victoria. Ms. Hayward is a Principal Ballerina at The Royal Ballet. Numerous other skilled dancers are in the cast as well.

The story (such that it is) revolves around a tribe of Jellicle cats who have an annual ritual of selecting one to ascend to the Heaviside Layer and come back with a new Jellicle life. Sweet Victoria is unceremoniously dumped in the alley by her owner, and is quickly surrounded by this tribe of cats that basically aren’t very nice. It’s in this opening sequence where we realize these humans as cats actually look a bit creepy and take a while to get accustomed to. Given the structure, the story plods along through each successive song, with certain characters getting their moment to shine. These include Rebel Wilson as humorous and chunky Gumbie cat Jennyanydots, Rum Tum Tiger cat played by talented musician/singer/dancer Jason Derulo, Oscar winner Jennifer Hudson as outcast Grizabella, James Corden as the usually-hungry Bustopher Jones, and Oscar winner Judi Dench as Old Deuteronomy.  Always hovering, is the mystical Macavity played by glowing-green-eyed Idris Elba, and making a later appearance is Taylor Swift as Bombalurina, singing the Macavity tribute song.

The two most memorable numbers come courtesy of Ian McKellan as Gus the Theatre Cat, and Ms. Hudson who belts out the most famous song of the production, “Memory”, in a vocal and emotional highlight of the film. Visually, it’s Mr. Mistofelees (Laurie Davidson) magic number that breaks us out of the muted palette. The other musical numbers mostly just fall flat and aren’t very entertaining or enjoyable.

It’s pure coincidence that the screening for this film was the same day as the new Star Wars movie. The franchise for the latter began in 1977, while “Cats” first hit the stage in 1981. That’s quite a legacy for both. As for this film version from director Hooper, I do wonder if enough viewers will respond to a musical where the story and songs are overshadowed by the dancing, and the sets and costumes offer no ‘wow’ factor. Many will find these characters hard to connect with … at least outside of that incredible Jennifer Hudson vocal. It seems these kitties should have remained on stage.

watch the trailer:

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Posted by David Ferguson