Title: Toy Story 3
Language: English, Spanish
Genre: Animation, Adventure
Director: Lee Unkrich
Music: Randy Newman
Cinematography: Jeremy Lasky
Javier Fernandez Pena
R. Lee Ermey
My original plan was to have a Toy Story trilogy orgy thoroughly in one day because I am so ashamed that I haven’t watched the first two films yet, then I kept postponing the project indefinitely as not enough time could be squeezed for such a feast. So the day before yesterday I incidentally watched the third one on TV, though discontinuously, it did prompt me to watch it last night.
As a sequel, TOY STORY 3 might be not as splendid or original as Pixar’s recent mega-hits UP (2009) and WALL-E (2008), since in a world full of toys, there is not much room left for grandeur milieu. However the whole team behind is extraordinarily decisive and intelligent to mould every single character with respective personalities, even for the trivial sidekicks, which creatively leave indelible impressions on my mind.
As a matter of fact, the mammoth success of the film is mainly the victory of a superb script from John Lasseter, Andrew Stanton, Michael Arndt and the director Lee Unkrich. It could effortlessly project an empathetic impact upon anyone as long as he/she could still recall his/her childhood memory, (for children of course no problem, and as for adults, the repercussions are even more vigorous, its positive messages of intrepid friendship and the soulful revelation of grow-up triumphantly moves everyone, regardless of the fact that if you have watched TOY STORY (1995) or TOY STORY 2 (1999).
For the fun part, the film has numerous wisecracks and innocuous gags all along the way, the prison-break set piece is adeptly maneuvered (the hand-in-hand resolution is as affectionate as unexpected), but the real epiphany comes near the end, it’s a tear-jerking moment to wave goodbye to the past, especially those are composed of happiness and joy, we all grow up like Andy, and I do yearn for my old childhood toys (mainly cartoon books though).
The film is also perfect for its score (Randy Newman’s We Belong Together has a fatal empathy when playing during the end credits), and all other technical aspects are arranged with Pixar-esque delicacy and accuracy (the editing and art direction particularly).
The voice cast contributes the minimum wage here, but Buzz Lightyear’s Spanish mode is my favorite stunt in the film, invincibly hilarious all over the globe.
Ignoring this year’s CARS 2, Pixar solidifies its status of representing the apex of the animation film field and what’s is more precious is that they master the recipe of fabricating allegorical fairytales which accommodate almost an entire demography and offer a perfect shelter for us, which we still can self-consciously engage ourselves into the miraculous web of contemporary films.