In a post-Andy world, the heart and soul of the Toy Story saga ended sixteen years ago, all since rendered adjunctive. The Bonnie years have yet to drop the ball but lack necessity. Where Toy Story 4 charted life post-Andy imitatively, however, the fifth does stray from the beaten path. Just a smidge. Toy Story 5 may feel no more essential than its 2019 predecessor but the film does, at least, boast a certain tonal distinction. For the first time in thirty years, Randy Newman doesn’t sing. Oh, and Tom Hanks’ Woody is no longer the lead.
The real world has caught up with Runway. Apparently. Just don’t tell The Devil Wears Prada 2, the twenty years gestated, gloss-fest sequel to David Frankel’s well-remembered original. Budget cuts may be à la mode in a breezy script by returning writer Aline Brosh McKenna but, when the top to bottom of Frankel’s (also back) screen looks every bit the $100m budget, it’s a somewhat shallow punch. Nostalgia can, after all, prove poisoned chalice. Sure, there’s a lot to like here but, make no mistake, the film wants heavily for its predecessor’s zippier outsider energy.
Given the success of the Paddington films – now three in, not to mention a West End musical – it was only a matter of time before other staples of the British children’s library would wind their way to the big screen. Sure enough, here is Enid Blyton’s The Magic Faraway Tree, lovingly modernised by Ben Gregor and Simon Farnaby. That the latter co-wrote and conceived the second – and best – Paddington film tells you all you need to know. His are delightfully quirky but ultimately safe pair of hands.
The Film Blog 