“You’re Bonnie’s Toy. You Are Going To Help Create Happy Memories That Will Last For The Rest Of Her Life…”
Come the end of Toy Story 3 back in 2010, it’s fair to say that a huge majority of both film critics and fans alike seemed to all be in universal agreement that the story of Woody and Buzz had been wrapped up rather beautifully, concluding a trilogy of award-winning animation movies which would forever be regarded as Disney Pixar’s very own pièce de résistance and a particular franchise that would never be topped. When the first whispers of a further sequel arose therefore, a wave of pandemonium and panic justifiably surfaced across social media, with the same critics and fans jaw-dropped at the idea that such a beloved trilogy could potentially be tarnished for what seemed to exist for no other reason than that of a quick cash-grab, and whilst many may head into Toy Story 4 carrying a suitcase worth of trepidation, what a huge relief it is to report that Disney Pixar’s latest is a heartwarming, hilarious and sometimes beautiful animated delight, a third sequel which mixes the return of all of the franchise favourite characters with interesting new inclusions alongside a central narrative which although does feel overly familiar for a series spanning twenty years plus, will undoubtedly work for both children and adults alike.
With a different director at the helm once again, Pixar Animation Studios stalwart, Josh Cooley, is gleefully offered the top job, taking the directing mantle away from the likes of John Lasseter and Lee Unkrich, after his work on recent animated works including Inside Out and Up, and with a script from a whole army of screenwriters, including Lasseter himself, Toy Story 4 primarily picks off where its’ predecessor ended, with Woody (Tom Hanks) and co. now being cared for by young Bonnie, the playful daughter of the parents living next door to Woody’s previous owner, Andy, and with Woody now being resigned to a limited amount of playtime, Bonnie soon finds herself a new best friend in the figure of Forky (Tony Hale) a makeshift, DIY hybrid of trash and toy whose lust for freedom results in Woody and the gang attempting to rescue him and bring him back to the loving arms of his creator. With more comedic punches than so-called contemporary comedies, an array of interesting new characters including Keanu Reeves’ (John Wick) Duke Caboom, and simply stunning animation, Toy Story 4 is indeed Disney Pixar at their most charming, and whilst the overall plot does seem slightly run-of-the-mill and franchise built, Cooley’s movie benefits from a tonal sensibility that only the best Disney movies can do, with it the type of movie which within the space of just over ninety minutes makes you smile, laugh and cry all at the same time. Oh, and I loved the massive nod to The Shining.
Overall Score: 7/10
“I Think They’re Attempting Hybridisation. They’re Upgrading On Every Planet They Visit…”
With it being thirty one years since the original Predator in which Arnold Schwarzenegger out muscled Carl Weathers and a brand new monster franchise was violently brought to the attention of Hollywood, director Shane Black (Iron Man 3, The Nice Guys) brings his own particular twist to the series with a direct sequel to the previous entries which features over-inflated ego’s, jaw-dropping violence and an eclectic twist of tones as we see the threat of the titular monster land on the doorstep of Boyd Holbrook’s (Logan) Quinn McKenna, a merciless Army Ranger sniper whose team are swiftly massacred after a mysterious alien ship crash lands on earth. With Black himself famously having a leading role in the original, his penchant for black comedy which has been rife throughout his directorial back catalogue thus far is surprisingly the standout tone of The Predator, a film which attempts to pay respects to the original with ridiculous levels of violence and an overwhelming B-movie sensibility, but a sequel which too ultimately feels nothing more than a slice of popcorn flashiness without the lingering aftershock which made the original release back in 1987 so darn re-watchable even after initial sniffy reviews back in the day. What’s the point of film critics anyhow? Please continue.
Following in the footsteps of the soon-to-be released Mile 22 by disregarding the fundamental laws of film-making by glossing over basic characterisation and seemingly hiring editors who are hooked on some sort of maniacal drug, Black’s movie doesn’t half move like a bullet train, hooking audiences straight into the action as a quick detour into the jungle leads onward to hidden government bases, Halloween covered schools and finally back to the jungle as our titular murderous beast gleefully tears the wide range of cannon fodder violently apart. With Black choosing to focus the heart of the action upon Holdbrook’s shoulders as his character finds himself on the self proclaimed “loony bus” alongside the likes of Trevante Rhodes (Moonlight) and Thomas Jane’s (The Punisher) rather forgettable but equally homicidal “troubled” soldiers, the quick quipped banter between the characters at first doesn’t seem to fit with the tone of the movie whatsoever but as the movie progresses into more extreme and over the top territory, including a drastically overlong and plodding conclusion, Black’s vision is clearly groundwork for an expanse into wider Predator related territory, and whilst his latest is riddled with flaws and silly mistakes, the best way to view The Predator is to understand what it fundamentally is at heart; a trashy B-movie wannabee.