Toy Story 3

Toy Story 3
(2010)
Directed by Lee Unkrich

Every Pixar film makes me nervous. The previews always make me worry that the film will finally be The One; the terrible one. Cars is the established black sheep of the family, followed by A Bug's Life, but those are both still very good films. Up until How to Train Your Dragon, Dreamworks would have killed to produce either of those films.

The point is that I'm always worried. I worried about Up all the way until I saw it. If regular Pixar films make me nervous, sequels practically give me breakdowns. It's on the principle of the matter. If Pixar are finally, truly going to trip, please, God, don't let it be with a cash-in sequel. I would lose respect for a company I have nothing but deep, deep love for.

So I was nervous about Toy Story 3. Was it going to live up to what's come before? Could it, is probably the bigger question. After eleven years, did the writers still have a feel for the same characters? Could they come up with a story that was worth telling all these years later? Fuck yes, as it turns out.

I'm not big on recaps, and all you need to know is that the story, much like 1 and 2, centers on Woody trying to get back to Andy. But this time, Andy's leaving for college in a matter of days, and Woody, along with the rest of the gang, have accidentally been donated to a kindercare center.

The majority of the film is very good, and would earn a very robust B+, but I want to focus on the last fifteen minutes. They are perfect. As a conclusion to the trilogy, you couldn't ask for anything more. It's impossible. Not only does the conclusion of this film end the movie in a satisfying way, it creates an emotional arc that started with the very first Toy Story. This film has made three separate movies work as a true trilogy, where your enjoyment of the first entry is increased with your knowledge of the end. I read a review earlier today which proclaimed "Bring on Toy Story 4!" This dumbass missed the whole point of the breathtaking film he just saw. I pray Pixar won't make such a thing. Certainly not while the current set remain in charge. It would break my heart, and that's not hyperbole. If you see this film, you'll understand why.

I spent the last ten minutes in a perpetual state of crying, because little moment after little moment hit me just right. I won't give any of it away, because the beauty of those last moments is in realising you knew what was going to happen the whole time, and that it's exactly what should occur. The film hits all the emotional bullseyes it wants, because it never once reaches for them. As with every Pixar film, and this is what they do so very right, there's no pandering. They aren't trying to sell you on this story, and they aren't dumbing it down for the kids. They make what they want to see, and it just so happens that the rest of us do, too.

Wednesday Classics, Vol. 5: Pixar

With the recent release of Up, Pixar Animation Studios have reached their tenth movie, and I wanted to take the occasion to take a look back at the amazing track record John Lasseter's merry band have left behind them. There are ten reviews to write, so I'll forgo the lengthy introductory essay and get right to it.

Toy Story
(1995)
The template for every Pixar film was already firmly in place with the release of their first movie, Toy Story. It featured a score provided by Randy Newman (he would score Toy Story, A Bug's Life, Toy Story 2, Monsters, Inc., and Cars), state-of-the-art computer graphics, and a water-tight story, all of which have become Pixar trademarks. But what really makes it Pixar is the way the story is driven by the characters. Nothing in a Pixar movie happens just to have something happen; it all spins out of the characters and their motives, their relationships. By modern standards, it looks downright archaic, but Pixar's first film is still one of their best.
Grade: A

A Bug's Life
(1998)
An inconvenient hiccup of timing left A Bug's Life marked, in some circles, as a less intellectual, younger sibling to Dreamworks' Antz, released in the same season. That may be true, but they weren't aiming for the same audience. Antz was aiming for the adults, while A Bug's Life was for everyone. Toy Story suggested that Pixar had a way with slapstick, and they honed that sensibility here. Toy Story had a sophisticated edge to some of its jokes, and Pixar ran with the balance of humour for young and old here. The story and characters are strong as ever, and, while it may not measure up to most of the Pixar output, A Bug's Life is still a stellar achievement.
Grade: A-

Toy Story 2
(1999)
Toy Story 2 is a masterclass in writing a sequel. The continuity of the first film is preserved; we aren't given some half-baked excuse for a new adventure, it's logically built off of what's come before. The humour is still intact, and even developed. All the familiar characters from before have returned, and the new characters introduced neither outshine nor pale in comparison to the old guard; they feel as though they fit all along. We learn more about the histories of the characters; Buzz and Woody have their origins filled out in authentic, unforced ways. It's perfect, really.
Grade: A+

Monsters, Inc.
(2001)
I'm not sure how it works, exactly, but Pixar make their films in such a way that I am able to enjoy them simultaneously on both an artistic and a technical level. Yes, the story of Monsters, Inc. is clever and original. Yes, the characters are, as ever, strong. Yes, the sense of humour is there. But, my God, would you LOOK at that fur! Honestly. It was worth the cost of admission simply for the fur. It is not, objectively speaking, one of the stronger Pixar films, but it has a lot to live up to.
Grade: B

Finding Nemo
(2003)
Here we have what is widely considered the crown jewel of the Pixar empire. Finding Nemo actually is just as good as you've heard. It may even be better. The story, again, is water-tight (no pun intended), and the characters are wonderful. It speaks volumes for this movie that Ellen Degeneres was able to relaunch her career off the back of a voiceover role. It looks good, it's as colourful a movie as you'll ever see, and the relationships between the characters this time around are flawless. You can see Marlin growing fonder and fonder of Dory as the film progresses. In the Pixar canon, Toy Story 2 is the (relatively) unsung masterpiece, but Finding Nemo, thus far, is the studio's magnum opus.
Grade: A+

The Incredibles
(2004)
Brad Bird is responsible for this, and it shows. Bird has been around in animation for a long time, but he made his name with The Iron Giant, a masterpiece of animation that remains disconcertingly unfamiliar to the greater public. The Incredibles was written to be hand animated, but John Lasseter asked if Bird wanted to make it with Pixar. He said yes. A dramatic departure for the studio in tone and content, The Incredibles is one of their best films. It's more serious than the other Pixar movies. It has more to say about society; says Mr. Incredible, "They keep coming up with new ways to celebrate mediocrity!" The characters are defined, but subtle, and realistic. The motives are more complex than in any prior Pixar film, and, as a result, it is the most mature Pixar film, in every way. Not every animation studio would take a chance on a film like this.
Grade: A

Cars
(2006)
Every family has one, and most studios have several. The biggest "blemish" on Pixar's record is Cars, a film most animation studios would kill to make. It's not a surprise, though, and I'm disappointed Pixar didn't see it coming. Where Pixar has differed from every other studio is in, yes, I know, I keep saying, its characters, and that is the weakest link in Cars. The characters are enjoyable, and Tow Mater is the only thing Larry the Cable Guy should ever do, but they rely too heavily on stereotypes. The Volkswagon van is a stoner. The jeep is militaristic. Haha. Hoho. Now, I'm putting it down in relative light; it's a funny movie, it's never less than entertaining, and, as ever, it is well made. The stereotypes aren't so bad for a children's animated movie, but, by Pixar standards, it's for shame. You may ask yourself why there's a sequel in the works for their weakest film, and while I like to think it's because they feel like they could do better, it's hard to ignore the $5 billion in merchandise sales this film generated. Cars was a disappointment, but if the sequel isn't up to snuff, that will be the first blatant attempt at consumerism on Pixar's part, and that will truly break my heart.
Grade: B-

Ratatouille
(2007)
It's gotten to the point, with Pixar, where I hold my breath each time I hear about their next film. I keep waiting for The One, the irrifutably bad movie that will make them mortals, like any other studio. Before Brad Bird swooped in, at the urging of John Lasseter, Ratatouille was almost that film. During pre-production the previous director was removed, as the movie was not living up to the standards of Pixar. Bird was brought in, performed a major overhaul, and created an absolute gem of a film. It is the most visually sumptuous of all the Pixar movies, and marks a point of departure for the studio. The Incredibles aside, The Old Testament phase of Pixar was buddy comedies, with minor variations here and there. Ratatouille begins the New Testament, where Pixar started taking more chances with its stories. Given the results so far, I encourage the behaviour.
Grade: A

WALL-E
(2008)
Now the studio has balls. From Andrew Stanton, the director of Finding Nemo, we have the most unusual Pixar film. Consider a children's movie where the first half hour is practically silent. Consider an adult movie where that happens, even. WALL-E features two protagonists incapable of speaking much more than their names, but it never stops us from connecting. A powerhouse of animation, WALL-E's emotions are conveyed entirely through body language and "eye" movement. Again, he's got character. The story is involving and dramatic, and distinctly funny. If the environmental overtones are a bit too prominent, they don't distract from the story, and Pixar prove that risk-taking still makes for great movies.
Grade: A

Up
(2009)
Outside of the amazing rendering behind those balloons (the colours!), the trailer for Up had me less than excited. I was ready for this to be The One. When I saw it in theaters, the opening ten minutes put my fears to rest, and made me realise just how wrong I was. Those first ten minutes encompass everything that makes Pixar great; for one, there is some sublime slapstick comedy. For another, the childhood relationship between Carl Frederickson and his future wife is established quickly, effectively, and endearingly. There are no words spoken as we watch them live life together, nor as we watch her grow ill, and, ultimately, die. The first ten minutes of Up were more emotionally touching than anything I've seen in the last two or three years. The rest of the movie has all the trappings of a wonderful, New Testament Pixar movie; a slightly askew story, wonderful characters, and ample humour.
Grade: A

So, there you have it. The first ten Pixar films. All of them are classics of the medium, most of them are classic films regardless. The next Pixar venture is Toy Story 3. I'm nervous, as is my habit, that it will be The One. But then I saw the teaser trailer, which is nothing more than Woody, Buzz and the crew fashioning a logo for the movie; hearing Tom Hanks and Tim Allen voicing their roles again actually made me feel good. It was nice to hear the characters again, and I can't wait to see how they fair this time around. That's what Pixar does so well. In their best films, they create characters who become parts of your life, who feel more real in some ways than any real-life character ever could. Thanks to Pixar, animation isn't a genre anymore, it has risen to the level of Medium, through which any type of story can be told.