Animation particularly when it comes out of the Disney/Pixar stable is one of those areas of filmmaking that regularly inspires the phrase "They don't make them like they used to." In the case of Toy Story 3 however it's more accurate to say "They have never made them like this." It's certainly not unheard of for an animated film to be good for a Pixar film to be great or for the third film in a trilogy to be outstanding (though that's the rarest of the three) but in the case of Lee Unkrich's film the sheer degree at which it exceeds at all three is not just rare it's unprecedented.
Eleven years have elapsed since Woody (Tom Hanks) Buzz (Tim Allen) and all of Andy's favorite playthings had their last adventure -- rather 11 years have elapsed since Andy stopped playing with his toys. Buoyed by Woody's never-failing devotion the gang is all optimistic that Andy will elect to bring them with him to his first year of college but as that fateful empty-nest day approaches it becomes clearer and clearer that the only toy that will be making the trek to school is Woody. The rest are all by a series of unfortunate events consigned to live out their remaining days at Sunnyside daycare. Things are actually looking up for the neglected entertainers until they realize just how careless the ankle-biters are when it comes to playing with toys.
Unfortunately there is no escape in sight for the lovable personalities Pixar has been refining for over a decade. Lotso Huggin' Bear (Ned Beatty) runs a tight ship at Sunnyside; the new toys are just going to have to be sacrificed to the aggressive toddlers so the old veterans can have a relaxing time with their more mature counterparts. Eventually Woody catches wind of what kind of life his old pals are being forced to live and Toy Story 3 quite brilliantly becomes a riff on classic prison escape movies as Woody seeks to breach Lotso's security measures and bring his bunch back to Andy where they belong. And while this on-the-run chunk of the film is some of the most thrilling material Pixar has ever delivered it's also some of the most touching.
Unlike most sequels not a moment of Toy Story 3 feels artificial. There's no sense that Pixar decided to make a third film because it knew that the box office would gladly support another entry; no sense that this is a cash grab (unlike a certain green ogre's most recent trip to the big screen). All of those typical sequel pitfalls are carefully avoided by a swelling sense of finality. Toy Story 3 isn't just another adventure with these characters -- there is in fact no doubt that this is their final adventure their final hoorah together. Director Lee Unkrich and screenwriter Michael Arndt meticulously lead the audience along with bated breath the entire time culminating in a life-or-death scenario for the toys that is more heartfelt and genuine than most live-action films can ever muster.
It's astonishing how the creative team at Pixar can make you forget that what you're watching is all a bunch of digital wizardry. Maybe it's the 3D this time around maybe it's that this is the studio's most accomplished technical feat to date (there are single shots at a landfill that pack in richer detail than the entirety of the pioneering first film) that makes Toy Story 3 such an immersive experience. Or maybe it's simply because Pixar treats its property which is ostensibly for children with the utmost sincerity. The result is an overwhelming success the rare kind of film that were it a human being would be your best friend.
One could reasonably make the case that Toy Story 3 is the single best animated film ever made. I wouldn't outright agree with such grandiose claims but it's certainly not a baseless proposition that you'd be laughed at for bringing up. However with part three now tucked under Pixar's belt one could present an even better case that Toy Story is the best film trilogy ever made -- a claim I am far more comfortable signing on the dotted line for.
No instead of wanting to knock her block off New York City bus driver Ralph Kramden (Cedric the Entertainer) sweetly offers to take his soon-to-be longsuffering wife Alice (Gabrielle Union) to the moon promising her he'll be making it very big very soon. Six years into the marriage Ralph is still driving a bus Alice is a waitress and the two live in a rundown tenement apartment. But Ralph hasn't given up on his dreams to take his family to the next level. He is convinced he is just one great idea away from instant wealth and elicits help from his encouraging if slightly ditzy best friend and upstairs neighbor Ed Norton (Mike Epps). He's always there to lend a hand when Ralph goes off halfcocked on another half-baked idea. But Alice has set her sights on a more practical goal: buying a duplex fixer-upper with Ed and his wife Trixie (Regina Hall). And when Ralph expectedly loses their down payment on yet another failed project he has to come up with the cash right quick before Alice sends him to the moon. Without a space suit. Let the hilarity ensue!
The one saving grace to this Honeymooners redo is the casting. Cedric the Entertainer is a perfect fit as Ralph Kramden a blustering blowhard with a heart of gold. Although the actor claims he steered away from doing an impression of the late Jackie Gleason who immortalized the role way back when Cedric still can't help but slip into the Great One's persona every once in awhile especially when yelling "Norton!" And the hilarious Epps as the bumbling but sweet Ed makes an ideal sidekick like Art Carney did in the original. Adding to the fracas is John Leguizamo. He plays a streetwise conman who hustles the boys into believing he's a dog trainer after Ralph comes up with the brilliant plan to race Ed's dog a stray they find in an alley. Don't ask. Whether it's the three of them or just Cedric and Epps you just know there had to have been a lot of extra takes. Their antics are hysterical and it looks like they are constantly trying to crack each other up. The girls on the other hand don't look like they are having as much fun. They're relegated to pointing their fingers at their husbands and warning them not to screw up. Right like that's going to happen.
The original The Honeymooners changed the course of television in the 1950s by becoming the first smash hit sitcom. Turning this slice of American history into a contemporary feature film however is definitely one of those why-mess-with-a-good-thing? scenarios. Director John Schultz (Like Mike) does an adequate job maneuvering the mix of comic talents and letting them each do their thing. But overall it's a bland run-of-the-mill comedy. The film could have easily been made without having any Honeymooner icons attached to it at all and it would have been the same. And the most amazing thing is that it is without any of the original's mean-spiritedness. I mean even for a time where America was at a supposed height of conservatism there were moments in the show in which you thought Ralph might actually haul off and smack Alice. Gleason really did have one of the best wild-eyed don't-push-me-too-far stares. In the watered-down sappy remake however Ralph is a pussycat who only wants to make his wife proud of him. Gag.
One thing The Country Bears has in its favor is that the film keeps the plot simple. A convoluted storyline in which bears and humans interact would only make this even more painful to watch. Set in a music-video-type format where the bears and the humans sing and dance and have a grand old time the movie focuses on 11-year-old Beary Barrington (voiced by Haley Joel Osment) a young lad growing up with a very loving--and very human--family. Yet something doesn't feel right to Beary. Maybe it's because his jealous older brother Dex (Eli Marienthal) keeps telling him he has been adopted. Or maybe it's because he is a bear. Whatever the reason Beary feels connected only when he is playing his guitar and worshipping a hugely successful '60s rock band called The Country Bears--a quartet of big hairy fellows with names like Tennessee O'Neal Ted and Fred Bedderhead and Zeb Zoober who broke up over "creative differences" many moons ago. Beary decides to head out into the wild beyond to look for his true heroes--and find his place in the world. What he discovers is that the old Country Bear Hall where those wily bears used to perform is going to be torn down by the evil Reed Thimple (Christopher Walken. Yes we just said Christopher Walken.) Beary can't let this happen so he comes up with the plan to find the ex-Bears get them back together for a benefit concert and save the venue. Yee-haw.
Everyone associated with this film (from the actors to the long string of cameos by real-life musicians) surely believed they were making a fun-filled romp for the kiddies. You know "something to take the whole family to see " but they may not have realized how incredibly inane it would turn out to be. Or maybe Disney called in a lot of favors. Walken could have just lost a bet. The point is this--the human cast simply serves a purpose as the framework for the bears. Megan Fay and Stephen Tobolowsky are Beary's sugary-sweet mom and dad. Diedrich Bader and Daryl Mitchell play bumbling police officers looking for the hairy little fellow. Only Marienthal's Dex recognizes the absurdity of the situation--Beary is a bear and Marienthal gets to say probably all three of the best lines in the film. Cameos by artists such as Bonnie Raitt Don Henley and Elton John are fun but don't add much to the fray. Meanwhile the vocal talents are notable only when real-life singers like Raitt and Henley (who "sing" a duet as Tennessee and lady bear Trixie) and country singer John Hiatt (also as Tennessee) get to perform. Haley Joel Osment as the voice of Beary is more animated than the young actor has ever had the chance to be onscreen but there may be a reason for that--Osment is annoying as a chipper guy.
Most of us know about Disney theme parks and their most popular attractions--the Haunted House the Pirates of the Caribbean and of course the Country Bear Jamboree. Now Disney has gotten the bright idea to turn these attractions into movies--cashing in on the familiarity--and those singing dancing bears are the first guinea pigs. In other words Disney is grasping at straws. Granted the film is intended for children but let's not insult their intelligence as well. Besides a bad script so-so puppetry and sappy original songs the most bothersome thing about The Country Bears is that the bears walk and talk like their human counterparts have jobs eat in restaurants and play in rock-and-roll bands but there are only about six of them altogether. There aren't any other bears around. Or any other animals for that reason. At least in a Muppet movie the Muppets are everywhere and so it's understood they simply co-exist with humans. If you were to meet one of these Country Bears on the street you'd be very afraid.