Director: Andrew Stanton
Voice Stars: Joan Cusack, Conan O’Brien, Greta Lee
With some serendipity, Toy Story 5 arrives in the UK the same week as a move to ban under 16s from a wealth of social media platforms, both for their own protection and, perhaps, in an effort to stem the over-reliance and addiction that is broadly felt across generations. If this move is some years behind the curve of parental sentiment, well, so are Pixar, who in the Year of our Lord 2026 are finally using their flagship franchise to address the global negotiation that is… SCREEN TIME. Except, well, not really. It’s waved at a bit. Still, this fifth installment does find the series moving with the times while continuing to explore a theme that it has worried over since inception; the anxiety of obsolescence.
Bonnie (Scarlett Spears) is now 8 years old, and becoming aware that she’s being othered by her peers for still playing with toys. They all have Tech, specifically a plasticated range of tablets called Lilypads. From the toys’ perspective this is a grim sign of impending rejection, and the allure of screens to children is painted as an apocalypse-level event, decimating all notions of playtime.
With so many characters in the franchise’s roster at this point, new installments have to zero in on a few focal leads. For Toy Story 5 it is cowgirl Jessie’s (Joan Cusack) turn to take the spotlight. Her storied history through the hands of multiple kids is at least partway illuminated and, as sheriff of the other toys since Woody (Tom Hanks) left the roost, it is her job to help Bonnie make real friends away from the judgmental glow of Lilypad (Greta Lee). This endeavour leads Jessie and her trusty steed Bullseye to the rural home of Blaze (Mykal-Michelle Harris), and an assortment of forgotten childhood devices who only add to the movie’s dizzying cast. While there is a sense that Toy Story 5 is overspilling with characters, the newcomers are a hoot, particularly potty-training ringleader SmartyPants (Conan O’Brien), whose suggestive toilet humour (“Well flush me!”) nudges the movie from a U to a PG.
Given that the series sailed passed a clear end point at the end of Toy Story 3 there’s some dubiousness about the value of adding evermore entries, but drafting in seasoned Pixar helmsman Andrew Stanton means that, broadly speaking, the quality level remains incredibly high. Toy Story still casts other digitally animated franchises into dust. Speaking of dust, if there’s an aesthetic change-up here it’s in the series’ clear ambition to continue showcasing impressive new environs. Where Toy Story 4 was all darkness and rain (gorgeously so), this movie’s vibe is sun-scorched and dusty. While that isn’t often as gasp-worthy as some of the imagery that the last film boasted, it tessellates well with the moderately gentler pace. There’s less racing around this time. The story’s a bit more introverted and cut-up between locations. It’s about interactions. Meaningful ones, away from screens.
Given that this has all been going for nigh-on 30 years, you can hear the aging timbre in some of the voice cast. Cusack is gifted such a range of material for Jessie and, smartly, the story addresses the aging out of these toys. Even Woody – who’s more of a nominal guest star this time out – is showing signs of wear. He’s grown paunchy and balding. His new penchant for the Eastwoodesque poncho is a joyous cineaste touch, but it speaks of the last great era of the western. A further subtle reminder that obscurity awaits. Even Buzz (Tim Allen) gets to meet a newer, more advanced generation of Lightyears.
Lilypad is demonised at first but, as we’ve learned by now, there aren’t really Bad Toys. There’s a little background moment of wry comedy which shows Bonnie’s dad (Jay Hernandez) frustrated in a remote meeting, tired as he advises someone over and over, “You’re muted”. It’s a throwaway moment but really it might be the key to unlocking the intention of Toy Story 5. Tech itself isn’t the baddie. It’s a gateway for insecurities and ostracisation, sure. But it’s the deficiencies of the user that colour its place in our lives. That addictive, isolating glow requires new kinds of discipline or imagination from it’s users. The want and desire to limit exposure, get creative and return to childish things.
While moderately more sedate that the last outing, Toy Story 5 ultimately earns its place through the quality of the work. It’s still witty (SmartyPants’ use of the phrase “Slow your roll”). It’s still imaginative (the unforeseeable importance of Bonnie’s pet salamander). And it’s still a vehicle for discussing deeply humanistic concerns. The parents will again feel as many if not more pangs than the kids in the audience, particularly come the end. Jessie’s ultimate discovery in the shadow of a tire-swing is among the series’ great emotional touchstones.
If this one’s lighter on dynamic set pieces, it still has it’s heart in the right place. There’s life in the old toys yet.
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