Toy Story 3

Released in 1995 to adoring audiences, Toy Story revolutionized movie animation as we know it.  I remember clearly going to see it with my parents and my sister and instantly falling in love with it.  The same goes for the sequel which in many ways was even better than the first.  Pixar animation gave viewers something they had never seen before, and we ate it up.  It was a high-quality product that spared little expense in turning out a superior end result. Now 11 years later in 2010, Toy Story 3 was released. Did it need to be made? Not really, but it is a perfectly fitting end to one of the great animated franchises ever.

In making movies about what our toys did when we're not around, Pixar hit a nerve in just about all of its viewers.  What kid at one point or another didn't wonder that very question? When you're at school, what do you think your toys are up to? Do you think they have exciting adventures only to fall where they were the second you return?  If you can't admit to asking yourself those questions, well, shame on you because we all did it.  What makes these movies so special though is somehow the creators made these incredible toy characters and truly got into their heads.  Sure, the toys interact when we're not around, but what are they thinking about, what are their worries? What about when the toy owners get older? What happens to the toys then?

With just a few days before he has to move away to college, 18-year old Andy has to make a choice. What should he do with the few toys he has left in his room as he packs? Woody (Tom Hanks), Buzz Lightyear (Tim Allen), Jessie (Joan Cusack) and Co. wait to see what's going to happen to them. Andy's mom sees the toys wrapped in a trash bag though, and they accidentally end up sent to Sunnytime Day Care where they're greeted by Lotso (Ned Beatty) and a sea of welcoming toys. Woody manages to escape though, wanting to get back to Andy. He finds out though that the Day Care is a living hell for new toys with Lotso as an evil dictator of the place.  Seeing his friends left behind to die a slow toy's death, Woody goes back to help them escape, hoping he can get back to Andy in time too.

Maybe because I grew up loving these movies as a kid, but I'll always have a fond place in my heart for Woody, Buzz and the entire Toy Story world. Unlike the old Disney classics, these aren't just stories meant for kids.  The producers were smart enough to include stories that would appeal to kids on a simpler, easier to comprehend level while also adding that second layer of more adult, subtle humor in to keep the non-kids in the audience entertained. The animation doesn't seem as groundbreaking now as when it was first released in 1995, but it's still something to marvel at.  It's top notch as are the casting choices, the story, and one of the great endings to an animated movie/franchise ever, but more on that later.

These movies almost completely sink or swim on the shoulders of the actors/actresses chosen for their voice talents.  As intelligent and heroic sheriff Woody, Hanks again shows that he can be as good a comedic actor as a dramatic one.  I hear his voice now and associate him with Woody more than any other role he's done.  Allen is the same way, an inspired choice to play brave and somewhat clueless Space Ranger Buzz Lightyear.  The movie could have used some more Buzz here, but a bit late allows us to see Buzz of old, on guard and paranoid...in Spanish.  Most of the rest of the toys are back too including Cusack as cowgirl Jessie, Don Rickles and Estelle Harris as Mr. and Mrs. Potato Head, Wallace Shawn as the cowardly Rex, and John Ratzenberger as Hamm. Star power maybe not, but just in terms of getting the right voice for the right character, Toy Story again shows why it is such a successful franchise.

With another series moving forward after a successful opener, the key has to be adding something new into the mix.  All three movies basically have the same storyline; toys out of their element in dangerous situation, other toys must help out.  Originality isn't a huge factor here, it's just fun to see the old crew back together!  The new elements are all winners though, especially Beatty as the evil Lotso (Lotso Huggin' Bear).  He just has the right voice to play a sweet-looking but ultimately evil pink teddy bear.  Michael Keaton joins the cast as Ken -- Barbie's boy-toy -- in a perfect supporting part while Timothy Dalton, Whoopi Goldberg, Jeff Garlin, Bonnie Hunt and Richard Kind all make quick appearances (just listen closely and you'll recognize them).

A credit to the producers/creators/writers of this franchises is their ability to bring just immense amounts of emotion into these stories about toys of all things.  Just about any viewer watching this movie has some personal experience with a favorite toy, buying them, playing with it, losing it, breaking it, eventually outgrowing it, any or all of the above.  So naturally a teenager dealing with the transition to adulthood is a logical issue. What do you do with the toys you once loved so much? I don't know if the greatest writers in the world could have come up with a better resolution than the one used here.  In terms of character and story, it's perfect.  You can't top it. I'm not talking a tear here and there. We're bawling here, tears flowing down your face.  What's best about it though? It stays true to the characters like Woody and Buzz we've all come to love without pandering.  Yes, it is an emotional ending, but it works because it is real. It's never forced, much like the success of these groundbreaking animated classics.

Toy Story 3 <---trailer (2010): ****/****

Netflix review #24: License to Kill

It's official, I've seen every James Bond movie from Dr. No to Quantum of Solace. I haven't watched the Pierce Brosnan entries straight through since their initial release so I won't rank them all just yet, but with 1989's License to Kill now checked off, I've seen 'em all.

What set the two Timothy Dalton Bond movies apart from the rest was that they weren't content to go with the status quo. The Moore movies started off strong but got too jokey, too satirical by the end of the run. The Living Daylights righted the ship with a great action/spy movie, and LtK expands on the James Bond character. Several posts at IMDB talk about LtK as a sort of spiritual sequel to On Her Majesty's Secret Service, and it's hard to disagree with.

Bond is on the vengeance trail here, going up against a drug dealer, not Ernst Blofeld trying to ransom off the world. On the way to old CIA buddy Felix Leiter's wedding, Bond joins Leiter (David Hedison) in an effort with the DEA to scoop up infamous drug kingpin Franz Sanchez (Robert Davi) who comes into jurisdiction for a quick snatch and grab job. Watch it here if curious. But when Sanchez is caught, he offers $2 million to anyone who can help him escape. Of course, there's a treacherous agent in the midst who helps Sanchez escape. The drug dealer begins his own path of revenge, maiming Leiter and killing his new wife.

Looking to avenge his friend and wife, Bond resigns from MI6 when he's told to take no part in the case against Sanchez. With no limits on his actions, Bond can move freely and act as viciously as the men he's chasing. It's good to see Bond go out on his own here instead of being tied down by MI6's rules and regulations. To a certan point we've seen similar stories in other movies, like Quantum of Solace, but this is the first time he's completely on his own although Q (Desmond Llewelyn) does show up and offer his support with a few gadgets. It's always great to see Q, especially here where he's allowed out of his lab.

On the vengeance trail, Bond tries to infiltrate Sanchez's inner circle, pitting the dealer against his most loyal men. It's as he gets closer to him that Bond discovers a bigger plan at work, a system of organizing the drug cartels from the east and west. They've developed a new way of transporting heroin, a system that makes the drug impossible to detect. It does provide for a great closing sequence with four oil tankers transporting the heroin racing down a mountain road, Bond doing his best to slow them down.

As Sanchez, Davi is a good if not great villain. He's not a maniacal hothead, instead a businessman with a plan to make millions. Sanchez insists on loyalty from his men and pays well to get it so when Bond shows up saying his men are looking to betray him the obvious problems arise. As for his henchmen, they're some of the best. Always a reliable bad guy/sidekick, Don Stroud is Heller, a mysterious American with a past in the armed forces, and a young Benicio Del Toro makes a frightening appearance as Dario, an ex-contra who does Sanchez's dirty work. Del Toro is only in a handful of scenes, but with some crazy eyes and his maniacal laughing makes the most of his smaller part.

On to the Bond girls, one good, one not so good. A pre-Law and Order Carrie Lowell plays Pam Bouvier, a former Army pilot who worked as one of Leiter's informants. Somewhat wooden in the part, Lowell is good in the part because she's not the helpless Bond girl who constantly needs 007 to save her. She's tough, able to handle herself, although when it comes down to it, she's got the hots for Bond. As for the not so good, Talisa Soto plays Lupe, Sanchez's girlfriend who wants out. Does she look good? Of course. Does her character serve a purpose? Not really. Others in the supporting cast include Anthony Zerbe and for the must-have odd casting in a Bond movie, Wayne Newton.

Unfortunately for the Bond series, this was the last movie in the bunch for six years until 1995's Goldeneye with Pierce Brosnan taking over the title role. LtK wasn't received that well in the U.S. at the box office, but I enjoyed it as much for a change of pace as anything. I went into the two Timothy Dalton movies with somewhat low expectations, but I can say now I think he's one of the better Bonds behind Connery and Craig.

License to Kill, <----trailer (1989): ***/****

The Living Daylights

Fans of James Bond seem to be pretty mixed when it comes to feelings about the Roger Moore era. I was surprised as anyone, but I ended up liking most of the Moore Bonds. They're not classics other than The Spy Who Loved Me, but they're very entertaining if at times too campy. I moved on this week to the brief two-film Timothy Dalton stint as everyone's favorite 00 agent with 1987's The Living Daylights.

Just like the movies, I'm working my way through Ian Fleming's Bond books and short stories. And with just one movie, I can say Dalton is closest of all the Bond actors to what Fleming originally intended with the character. Lost amidst all the cool gadgets, gorgeous women and beautiful locations is that James Bond is a cold character, an agent who will stop at nothing to get the job done no matter who or what gets in his way. All the actors, Connery, Lazenby, Moore, Brosnan and most recently Craig, put their own spin on 007. But Dalton in his first movie gets Bond back to his roots, an efficient, effective spy who can be ruthless in his methods at times.

The Living Daylights across the board tries to get back to the basics. There's no arch-villain trying to take over the world here with some harebrained scheme to ransom off the Earth with nuclear bombs. Instead, Bond is helping a Russian general, Koskov (Jeroen Krabbe) defect or so it seems at first. The KGB kidnaps the General only after he reveals a Russian plan to start knocking off MI6's agents. But it all seems too easy and the only trail leads to a Russian cello player, Kara Milovy (Maryam d'Abo). Bond begins to unravel a plan that includes diamonds, opium smuggling, a multimillion arms deal, and even the Mujahideen, the Afghan freedom fighters.

After some initial confusion with backstabs and double-crosses, TLD finds it's groove really quickly. With a new actor in the lead role, the opening pre-credit sequence is always interesting to see. This is one of the best as three MI6 agents go through a training exercise in Gibraltar. We don't know which one is Bond until a fourth agent appears and starts killing the others. Check it out here courtesy of what else? Youtube. Without the general overdone jokey feel of some of the Moore movies, TLD gets to focus on what most Bond fans want to see, the action and story. The last 40 minutes is basically one long extended sequence with a raging battle on an airstrip as the Mujahideen, Russian soldiers, and Bond duke it out for a plane filled with bags of raw opium and a bomb.

Here's the finale of the plane fight as Bond fights with henchmen Necros (Andreas Wisniewski) at the back end of a cargo plane. It's got some of the best stuntwork I've yet to see in the Bond series. I can't say enough about the action in general. Directing his fourth movie from the series, John Glen clearly knows what he's doing by now with this the best by far of the quartet.

Behind Dalton, the supporting cast might lack some of the name recognition of the other movies, but it's a more than solid group. d'Abo is cute as the Bond girl here, but it's not a particularly memorable Bond girl. Joining Krabbe and Wisniewski in the villain department, Joe Don Baker gets to ham it up as Brad Whittaker, an ex-West Point cadet booted for cheating now making money as a worldwide arms dealer. Fans of the Brosnan movies should recognize him several years before he played CIA agent Jack Wade. John Rhys-Davies has a brief part as Pushkin, a Russian general being played by all sides. It's not much, but Rhys-Davies is the type of actor who gives a movie credibility just by being there. Then there's Art Malik as Kamran Shah, a Mujahideen fighter teaming up with Bond. In the years since 9/11, it's still odd to see the Afghan resistance portrayed the way they are, especially knowing how history developed and changed as the Afghans went from allies to enemies.

Going in I wasn't sure what to expect from the Dalton opener because I usually heard negative reviews, but I got wrapped up in The Living Daylights right away. I love how Dalton leaves his own mark on Bond, not settling for a rehashed version of Connery or Moore, and it's a Bond movie at least remotely based in reality. Here's the trailer and the title song by A-Ha, not one of the best themes but not bad either. Composer John Barry doesn't disappoint either, turning in another memorable score with all the recognizable music with some new twists.