Episode 172: Toy Story 4

We approached TOY STORY 4 with apprehension, counting ourselves among those that considered Pixar’s trilogy to be one of the best ever made and already “perfect”. In this episode, Caless Davis joins us to discuss the new end of the TOY STORY franchise. We talk through our concerns and share what impacted us about Woody and the gang’s latest chapter.

Toy Story 4 Review – 0:01:38

The Connecting Point – 1:13:22

Follow & Subscribe

Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

What We Learned This Week: “Toy Story 4” Special

THE LESSONS I LEARNED WRITING ONE OF THE FIRST AND FEW NEGATIVE REVIEWS OF “TOY STORY 4”

A week and a half ago, I watched Toy Story 4 during an advance screening for press and I really wrestled with what I watched. I slept on it, researched it, and went back and forth with my paragraphs. In the end, I gave it a two-star review which quantifies to a “Rotten” green splatter on Rotten Tomatoes. I knew vitriol and many questions would come. I sure didn’t know how much, even with the saying of any press being good press (Thanks, ComicBook.com). Let me tell you, I had quite the learning experience that is fitting for a special and personal “What We Learned This Week” editorial. 

LESSON #1: IT WASN’T ABOUT THE ATTENTION— Those of you who know me and follow my work know my snark level is not very high. I’m not a purposeful contrarian and I don’t go about this with a mean spirit. I’m not out to burn anything to the ground, even if it’s Terrence Malick. Sure, I may write about lofty and nice film often, but I am far from a film snob too. Higher cinephiles than me have said worse things about more universally acclaimed movies than Toy Story 4. I gave Toy Story 3 the highest of acclaim possible in a review nine years ago and included the franchise in the top five of the best trilogies ever (for which it has now departed). I’m a regular guy, father of two, and a school teacher. Those are my informed anchors and lenses. 4500+ review views later, I will still assert that didn’t do this to get page clicks or to get noticed. I don’t get paid to write reviews. The ad revenue is pennies in a piggy bank and does not constitute a making a living on this stuff. 

LESSON #2: BE HONEST WITH YOURSELF— Again without contrarian snark, I wrote what I did with honesty in mind. Believe me, it would have been way easier to give the movie a pass or follow the pack mentality. I couldn’t with honesty and personal integrity do that, no matter the movie. I don’t give passes to anyone. Because of that, I knew to be careful next. 

LESSON #3: BE CAREFUL WITH YOUR WORDS— I go into each review, positive for negative, mindful of the words I use, especially the hyperbole. I have loved and championed this list of movie critic cliches from Letterboxd user Erik Bajzert and I actively avoid them at all costs. They have become my rules and style guide. 

LESSON #4: IT IS ENTIRELY POSSIBLE TO SEE A MOVIE’S FAULTS AND STILL RECOMMEND IT AND ENCOURAGE AN AUDIENCE— At no point was I shouting from any mountaintop that people shouldn’t see Toy Story 4. With Lesson #3 in mind, my review was not about “love” or “hate” or “like” or “dislike.” I didn’t and wouldn’t use those words and I dare you to find one in my piece. Kyle Smith of the National Review was far less kind than me.  Reviewing a movie for me is more than the emotional takeaways. I go deeper. I don’t hate Toy Story 4. I even don’t dislike Toy Story 4. I’ll recommend people see it and form their own opinion until the cows come home. I’ll use Lesson #5 to explain my review points. 

LESSON #5: IT’S ABOUT EFFECTIVE VERSUS INEFFECTIVE— For all the people who ask about a part or point of my review, my answer has been talking about effectiveness instead of hate or dislike. That’s me trying to apply objectives to the subjective and maintaining the mindfulness from Lesson #3. There are more narrative choices, plot points, character moments, repetitive tropes and more than I flatly found ineffective rather than effective for several reasons. I spell them out in detail in one of the longest reviews I’ve written this year because I knew the need to explain carefully. I’d write even longer if I stepped further into spoilers. Again, see Lesson #3. 

LESSON #6: I’M NOT WRONG AND NEITHER ARE YOU— I’ll partially throw one of our Feelin’ Film hosts under the bus with the use of the word “wrong.”

It’s not about right or wrong. I didn’t write anything wrong. I just wrote something different and carried an opposing opinion. We’re all allowed that and I know I’ve come a long way around here (Dunkirk and “masterpiece,” anyone?) to be better myself about labels and being receptive. I knew what Aaron White meant (though a few others gave him a slice of shade). and he’s always going to be respected and cool in my book. I thank him for supporting my work, including the space to rant like this every week. 

LESSON #7: INTERNET COMMENTS ARE THE WORST— Boy, oh boy, is the troll side of the internet alive and well. OK. Fine. You disagree with an opinion. Like we all say, it’s just a movie.  What does writing hate do? What does wishing bodily harm to a person and his family do? Does it make your feel better or tough? Does Disney thank you for needlessly defending its honor? Some comments are truly sickening. I’m willing to bet 80% or more of the people who wrote one of the 50+ comments on my review didn’t even watch Toy Story 4. See the movie first then come and really talk. It was quite telling to me how the comments virtually stopped after its Friday debut, where maybe the realization of what I wrote wasn’t all that contrarian and spiteful. Luckily, I’m the type of person that doesn’t absorb that kind of garbage. I know all of it is fake internet courage. 

LESSON #8: NO REGRETS— Cue Scottie. P. from We’re the Millers.  I guested on Ian Simmons’s “Kicking the Seat” podcast talking about Toy Story 4 that week and fellow dais participant (and friend of the Feelin’ Film page) Emmanuel Noisette of E-Man’s Movie Reviews and The Movie Blog offered an on-air intervention session. He pleaded a little to reconsider my rating and review and to watch the movie again. I’ll certainly be seeing the sequel again with my wife and kids at some point. Maybe I do come around to more like and love, but I remain confident about my review speaking on worthwhile effectiveness. I don’t regret a word I wrote because I did it with honesty, clarity, and integrity. Toy Story 4 loses zero its standing and reputation from me and the other “Rotten” reviews.  The film will do just fine and not a real thing in the world is burnt.  The comments are horrible, but I don’t regret leaving the comment section open. I take all comers and customers. The many rational discussions with critic peers and general friends alike since in real spaces have been wonderful across the board. Shout out to Mike Crowley of “You’ll Probably Agree” for another solid and civil podcast discussion like Ian’s.  If anything, the challenge going forward is to maintain my consistency as a critic, especially on the Rotten Tomatoes platform.  There is a responsibility to that, which I completely understood even before this experience. This review, in a way, can count as a baseline or cornerstone. I must be wary of that and the comparisons possible going forward. This all only makes me want to work harder. Thanks for reading and your support!


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#105)

What We Learned This Week: June 2-22

LESSON #1: PERCEIVED RECORDS AND DISTINCTIONS MAKE PEOPLE GREEDY— The corporate greed monster of Disney strikes again with a blatant turnaround re-release of Avengers: Endgame. The goal of tacking on “new footage,” a tribute reel, and an end credits scene is to get the blockbuster over the final $50 million hump between its gross and the Avatar’s cumulative worldwide record of $2.788 billion. Apparently, there’s shame for being in second place so bad they have to employ cheap double-dip tactics. It will work, but it will also take screens away from other smaller movies that deserve more attention and chances. In my eyes, and I’ve taken this stump in this column before, this remains a hollow and fake victory fueled by inflation and high ticket prices. Avengers: Endgame remains outside of the Top 15 in both inflation-adjusted gross and, the best and most universal indicator of all, total ticket sales. Wake me up when it catches anything in that Top 5 or even the Top 10.

LESSON #2: DON’T TAKE A MOVIE AWAY FROM A CAPABLE DIRECTOR— A week after its disappointing debut at the box office, word on creative strife behind the scenes of Men in Black: International is coming to light. Clashes of story direction and final cut between veteran producer Walter Parkes and hired and extremely capable director F. Gary Gray nearly caused Gray to leave the project. Gray touted something edgier and Parkes’ sillier affair won final cut. This is explains a great deal as to why this movie looks way off and feels discombobulated, even by MiB standards. Sony, you’ve made these screwups before (and it sounds like you’re doing them again with Bond 25).  Trust the talent you hire and let them do their thing.

LESSON #3: DON’T PAY THE SAME GUY TO SCREW UP TWICE— There are many things wrong with Fox’s X-Men “culmination” movie Dark Phoenix, and just about every one of them can leveled to the writer/director Simon Kinburg, who was respectful enough to take responsibility. Once the powers-that-be announced that the X-Men: Apocalypse sequel was going to tackle the “Phoenix/Dark Phoenix” for a second time after Brett Ratner’s reviled X-Men: The Last Stand, they had to know the scrutiny was coming.  If you’re actually trying for renewed success, you don’t hire the same writer who made the first dumpster fire and then also give him the power to direct.  I get familiarity and I get that Bryan Singer is radioactive to employ, but go find an actual upgrade for your $200 million tentpole and franchise swan song.

LESSON #4: THE FEELINGS OF FATIGUE AND BLANDNESS FOR BLOCKBUSTERS ARE REAL— I know Toy Story 4 is fail-proof this weekend from this lesson, but, other than April’s Avengers: Endgame, this has been a rough spring and summer for blockbusters. I read two articles this week that tackled this issue in different ways. Medium.com writer Samuel Lenz poses the question of franchise fatigue of bland blockbusters. IndieWire’s Tom Brueggemann went deeper into the collapse to cite size, frequency, the loss of MoviePass, streaming preferences, and higher quality TV options. I think both together encapsulate the majority of the factors we’re seeing. The top reason to me is quality. These have been bland movie offerings. Better movies get better audiences and returns. Better movies with verified must-see buzz climb over other entertainment options an open wallets. It will always start with quality.

LESSON #5: IT WILL ALWAYS BE ABOUT PRICE POINT— The posturing of the streaming wars continue with WarnerMedia announcing the proposed price of its upcoming streaming service. The sticker of $16-17 monthly would include HBO (which is $15 by itself currently), Cinemax, and the sizable WB library of content. That may be a fair price on paper, but in the eyes of customers, that’s more than double Disney Plus and higher than Netflix, Hulu, and even Apple. Other than hardcore HBO fans and folks that miss the WB bulk that used to be backbone of the closing Turner Classic Movies, people aren’t going to bite for this. Now, if that $16 included Warner’s current standalone DC Entertainment as a match to all the Marvel stuff under the Disney Plus umbrella, the temptation and value would be closer.

LESSON #6: APPLE WANTS TO BE AN OSCAR PLAYER—Many in the industry watched with impressiveness at Netflix’s Oscar campaigns for Roma and The Ballad of Buster Scruggs. They have broken the glass ceiling and Apple is looking to follow. News broke this week of their strategy to produce and back six modestly-budgeted films a year as sponsored Oscar hopefuls. This plan is independent from a recent multi-year agreement between Apple and indie darling A24 to make multiple features together, but you have to think that collaboration is a perfect source for this goal.  Watch out, folks. Fine apple wine is coming.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson. His movie review work is also published on 25YL (25 Years Later) and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#104)

FF+ Toy Story 4, Black Mirror S5, and When They See Us

In this extra long episode of FF+ we have spoiler-free thoughts on Pixar’s latest, Toy Story 4, as well as conversations about Season 5 of Black Mirror and Ava DuVernay’s powerful miniseries When They See Us.

New For You 

Toy Story 4 – 0:02:01

Black Mirror S5 – 0:10:34

When They See Us – 0:41:27

 

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Music: City Sunshine – Kevin MacLeod

Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

MOVIE REVIEW: Toy Story 4


 

Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

What We Learned This Week: May 12-18

LESSON #1: SCARY BUSINESS DEALS ARE ALSO SMART ONES— Just as there are two sides to every story, there are two sides to every business deal.  On the surface, Walt Disney, which acquired controlling stake in Hulu as part of the Fox deal, looks like the corporate greed monster or the Borg from Star Trek lore many fear in buying the rest of the Hulu pie from Comcast.  Honestly, though, this was inevitable and necessary. Split between two opposing controllers, Hulu was going to die a slow death of futility and stagnation.  Comcast squeezed Disney for $5.8 billion (far more than it paid years ago for LucasFilm or Marvel) for something the Mouse House was likely going to dissolve anyway with their Disney+ service.  That’s like the movie business equivalent of an NBA trade for an expiring contract that will never play a game in his new uniform. Comcast laughs all the way to the bank and the marketplace loses something that would have become clutter.

LESSON #2: EVEN “NO SUCH THING AS TOO MUCH OF A GOOD THING” MIGHT NEED LIMITS— Now that Avengers: Endgame has cleared the Marvel end of self-imposed radio silence, have you seen the release date reservations of Disney’s calendar for the next five years?  Look below:

That, my friends, is insane.  Welcome to “market saturation.” I get that they are too big to fail and I get that they still make successful and positive products, but, good golly, space a few things out.  I’ll tip my hat that no new Star Wars films are coming for three years after The Rise of Skywalker.  That’s a nice pause.  That’s only one slow pause on a much bigger machine of cycles.  Other studios see this calendar and avoid these dates in order to not get squashed as the feeble competition.  Still, with a calendar that thick, where can the others hope to go at some point? Yowzers!

LESSON #3: START YOUR RESURRECTION CLOCKS NOW— Gazing into that future of release dates, one could wonder two things.  First, when will inevitable character turnover occur and, second, how long will the dead really stay dead.  I say that second one because anyone who knows the parent medium of comic book films (the graphic novels themselves) knows that no one ever really stays dead.  Even Christopher Nolan couldn’t really “kill” Batman. At this big level, when you put profit-minded and impatient studio execs in charge, I have to think the turnover or resurrection window narrows.  Contributor Jonah Koslofsky over on The Spool did a nice editorial piece this week on this underlying angle.  Sure, Hugh Jackman is supposed to be done with Wolverine after Logan, but what happens if the MCU fame comes calling (especially after/if Dark Phoenix bombs)?  Do we really think Robert Downey Jr. wouldn’t at least be tempted to consider another monster paycheck to return?  If their integrity holds (and I hope it does so as to not cheapen their phenomenal on-screen sacrifices and exits), wonderful, but when do the reboots and recastings start to come (Henry Cavill?! No, dude), especially with Logan’s new MCU home under the Disney roof?  Rub that chin and begin to wonder.

LESSON #4: THERE IS AT LEAST ONE PLACE WHERE DISNEY IS STRIVING AGAINST CREATIVE BANKRUPTCY— Speaking of that lengthy release calendar and recurring characters, the repetitive trends are a little maddening.  Call it whatever kind of adjective-assisted fatigue you want, this steady-yet-successful pattern of franchises, sequels, re-imaginings, and reboots from Disney (and other studios too, let’s be fair) have led many observers to bring out the “creatively bankrupt” label.  A sliver of less of that came to light this week when Pixar producer Mark Nielsen confirmed that Pixar has no other sequels on their planning board after this summer’s Toy Story 4.  Expect, fresh ideas, new faces, and big ideas which are, namely, all the reasons Pixar became successful in the first place.  This counts as promising news!

LESSON #5: THE ARTHOUSE HAS AN INTERNATIONAL LIFELINE— We in the United States are living in big screen blockbuster era.  It’s rare to see little films blow up anymore. If they do, they still have a genre bend to them for cross-demographic appeal matching today’s moviegoers.  The decline of the arthouse scene of independent film has been very apparent for a long time. We’re seeing a market transition where streaming and VOD platforms become their best profit options with multiplexes full of the big cheese.  So, it’s really encouraging to see one more place where arthouse films are gaining audiences: OVERSEAS. Eric Kohn of IndieWire wrote a nice analysis piece that shows a movie like Capernaum opening #2 and early $12 million behind Avengers: Endgame in China.  Here in the states last year, the same movie earned a little over $1.6 million in its entire run.  Opportunity like this for Capernaum and Shoplifters is great news for this class of filmmaking and for the global industry in general.  Slowly but surely, good films will find an audience and tastes can evolve along the way.

LESSON #6: FEAST YOUR EYES ON PRODUCTION DESIGN— In the final lesson suggestion spot, allow me to re-share a YouTube essay from the fine folks at CineFix ranking (with several ties) the ten best production designs of all-time.  This stellar list covers all genres and periods with fairness and there’s not a dud in the bunch. If you don’t notice and appreciate production design when you watch a film, let a little study like this be a primer and have a discerning eye into that craft ingredient when you watch movies going forward.  Production design is absolutely vital, both visible and invisible.


DON SHANAHAN is a Chicago-based and Rotten Tomatoes-approved film critic writing on his website Every Movie Has a Lesson and also on Medium.com for the MovieTime Guru publication.  As an educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical. He is a proud director and one of the founders of the Chicago Independent Film Critics Circle and a new member of the nationally-recognized Online Film Critics Society.  As a contributor here on Feelin’ Film now for over two years, he’s going to expand those lessons to current movie news and trends while chipping in with guest spots and co-hosting duties, including the previous “Connecting with Classics” podcasts.  Find “Every Movie Has a Lesson” on Facebook, Twitter, and Medium to follow his work.  (#102)