Martin Scorsese initially turned down The Wolf Of Wall Street because of its similarities to Goodfellas. The way to avoid those issues? Make a film of excess.
That excess, inspired by Caligula, gave the film a shock value for many when first released, perhaps because of it’s matter-of-fact, unjudgmental style. All part of Scorsese’s look at the amoral nature of the characters.
I look into these views that formed the film in my introduction for the it, which was given before a screening at The Little Theatre in Bath in July 2026, as part of Picturehouse’s year-long Scorsese season.
After the funeral of her abusive husband (George Pullar) Alice (Souheila Yacoub) is invited to his family home, where Deadites in search of an ancient dagger are circling.
2023’s Evil Dead Rise may have struck the same horror-focused vein as Fede Álvarez’s 2013 drenched-in-crimson franchise reboot, but like that film it still had an entertainment factor in the literal scrapes and tears featured throughout – let’s not forget the cheese grater. Follow-up Evil Dead Burn is a far cry from the humour that grew throughout the original trilogy, it’s the kind of film that British censors believed they were watching when banning the film under the Video Nasties scare of the 80s. That’s not to say that The Evil Dead isn’t scary and doesn’t have it’s twisted and splattery moments, but there’s levity amongst them, as some would point out a tongue-in-cheek aspect to it, although largely in the sequels. Evil Dead Burn, on the other hand, is a dark, dark film.
As Deadites surround an isolated, splintering family home where the Price’s have gathered shortly after the funeral of son and brother Will (George Pullar), tensions are already rising at the presence of his wife, Alice (Souheila Yacoub), especially after she didn’t make a speech at the funeral for her abusive ex. The build-up is slow and gradual, but once the possessing beings come into play, searching for an ancient dagger they believe to be in the home, the hoped for thrills and action come into full effect.
That is until they, quite quickly, go beyond that. Co-writer (alongside Florent Bernard) and director Sébastien Vaniček seems intent on not just testing the waters but pushing the boat out as far as possible, before taking a chainsaw to it and everyone on board. While not feeling sadistic there is an uneasy nature to a good chunk of the horror on display. Focusing on the idea rather than the effect – someone’s face being pushed into another caved-in one doesn’t produce the right kind of squirm. The biggest issue is the fact that there feels little entertainment factor because of the tone and nature of what we’re seeing. Intensifying that feeling of darkness without a full impact.
The feeling of that brilliant one-shot teaser trailer with bodies, dust, destruction and chaos being thrown and flown in all directions is present on a couple of occasions. In the scene itself and another brief moment where an early deadite encounter is shown from above, the sustained shots help to bring in intensity and propulsion. It’s a shame that those aren’t quite present throughout. Certainly the third act has a better sense of flow, feeling less like unfolding ideas in a possessed house movie and having a stronger chase and fight aspect – where Yacoub clutches the throat of her final girl role and gets everything she can out of it. A jackhammer and hedge strimmer make for well-utilised weapons, and a pen brought about more than one of the biggest gasps and audible winces for quite some time from myself. It’s moments where the film is swift but allowing ideas to live on and have an effect rather than focusing on just the idea for the heavy blood and gore they emit.
Such moments help lift the film up and see it through, ending on a more positive note thanks to the successful thrills and suspense brought about in contrast to the pure darkness, and slight drudgery, of images focusing more on bloody detail over wider effect. There are entertaining details, and indeed some tongue-in-cheek chuckles and twisted scares and lingering interactions with deadites, but they take some time to come round to. As if the film needs to get through a lot before properly igniting and staying aflame.
Evil Dead Burn often seems to be focused on pushing the gore boat out rather than entertaining. While it has its amusing and likably grisly moments, especially in the action and chases of the third act flow, there’s an adverse intensity to the slow first half’s darkness that can sometimes border on sadistic.
Cert – 15, Run-time – 1 hour 40 minutes, Director – Matt Johnson
Best friends Matt (Matt Johnson) and Jay (Jay McCarrol) have been trying for almost two decades to play a gig at the Rivoli, after a failed skydiving stunt, time travel back to 2008 is the new way to go.
It takes unbelievable confidence, bravery and enjoyment of the craft to make something as bold and wild as Nirvanna: The Band – The Show – The Movie. The feature follow-on from the TV series spun-off from the web series, each following best friends Matt (director Matt Johnson) and Jay (Jay McCarrol) – both of whom co-write – as they try to secure a gig for their band Nirvanna: The Band at their local music venue, the Rivoli in Toronto.
After almost 20 years of trying, with the latest attempt involving a failed skydive attempt from the CN Tower, the next step is to turn their RV into a time machine – inspired by Back To The Future – which transports them back to 2008. Amongst worry and attempts to get back without the future having changed we still see plans being concocted as to how to make it big; largely led by the ambitiously hopeful Matt, the leader of much of the film’s chaos.
The ambitions and madcap ideas and experiences of the central pair perfectly match the overall style of the film. Shot like a mockumentary, although breaking the fourth wall in laugh-out-loud fashion to cut to clips from the original web series, a number of scenes are filmed with hidden cameras and brief interactions with the public on the streets of Toronto. The joke doesn’t seem to be the reaction of those who aren’t aware they’re being filmed but more the behaviour of Matt and Jay, the things they say and do and how their film and adventures have burst out into the real world, both past and present.
The whole thing feels like a film made by a small group of friends just having fun making something. That fun comes across on-screen and brings through the gonzo laughs throughout. In a narrative and film that feel like they go against everything that should conventionally work, do their own thing and succeed thanks to the drive that the cast and crew all have. For fans of the web and TV series (neither of which I’ve seen, or had heard of until now) this feels like something completely maintaining the spirit whilst successfully broadening to a feature film. For fellow outsiders when the laughs start coming it’s easy to embrace, and slightly marvel at, the madness and pure ambition of the film. One that knowingly takes inspiration from the likes of Back To The Future and Bill And Ted and bringing its own style to them.
One of the boldest, most ambitious films of the year comes in the form of a mad time travel comedy that keeps its spirit of friends having fun creating together at its core. Funny, mad and unashamed about letting its characters and their schemes burst into our world.
Joe (Seth Rogen) and Angela’s (Olivia Wilde) marriage haslong been full of arguments, when their upstairs neighbours (Penélope Cruz, Edward Norton) come for a dinner party revelationsand confrontations make for an awkward and heated night.
The Invite makes me believe that Olivia Wilde could make a film in an Ikea display room and still have it feel cinematic. Confined to an, admittedly quite large, apartment – having been made from two initially connected flats – and focusing on just four characters at no point does this feel as if we’re watching a filmed play. Multiple corners are shown through the open-plan spaces, corridors, doorways and other areas of the home, there feels nowhere to properly hide or gain privacy or escape from the various conversations unfolding. Even when not sharing a space it feels like the four characters are talking over each other.
The camera placement and blocking feel so specific yet natural that they carry the rising tensions and awkwardness of the not-quite-dinner-party at hand. Angela (Wilde) has spent the day preparing meats, cheeses, a soufflé and new rug for a dinner party with upstairs neighbours Hawk (Edward Norton) and Piña (Penélope Cruz) to get to know them and apologise for the recent renovation noise. Husband Joe (Seth Rogen – once again showing great dramatic chops, I continue to point to his excellent turn in 2015’s Steve Jobs) has completely forgotten and is not ready to meet the couple he’s been annoyed by so many times in the lift.
Bickering flows from almost the second the two are in the apartment together. Thick and fast the agitation rises and rises between them with biting remarks beyond two people who are simply tried after a long day. Building us to prepare for awkwardness and a night of rifts the laughs start early on and only grow as Hawk and Piña arrive. The couples contrast and the guise of the perfect (at least as can be) dinner party is rife with fractures from the off. Awkwardness and a desperate need to escape almost any topic of conversation are the core offerings, and both provide plenty of laughs amongst the excruciating exercise of failing politeness between the central couple as they try to engage with their guests – who have some surprising revelations of their own to throw a spanner into the works around halfway through.
It’s this spanner which somewhat changes the humour to a new kind of awkwardness – wonderfully charted by the cast, particularly Rogen and Wilde on excellent form, particularly the latter’s glaring looks and facial expressions which conjure many laughs. The conversation sits uncertainly and uneasily, with no clear route to follow as we see it play out in real time and quietly explore Joe and Angela’s relationship.
More dramatic beats emerging in the second half are also effectively handled and bring a sense of reflective poignancy, especially in the very final stages. Slotting in with relative ease amongst the frequently, unexpectedly so, funny surroundings of Rashida Jones and Will McCormack’s script. Helped by the editing which maintains the layered flow with rhythms matching the opening credits where multiple shots play out alongside each other as Joe’s bike-struggle home contrasts with Angela’s day of buying decorations and ingredients. It’s the first flavour of a 70s feel to this contemporary adult drama. A feeling further found in the general set-up, and some of the look of the feature, too. One that seems to have been specifically thought about in capturing some of the film’s style.
I’m sure that returning to this film will bring out more, new awkwardness in the overlapping lines of dialogue that I didn’t hear over others on a number of occasions – creating an intentional layer of chaos and natural uneasiness for the characters, and further humour for the audience. Keenly conjured and captured by Wilde’s direction, and the excellent performances which allow the screenplay’s fracturing dinner party to break in truly entertaining fashion.
Excruciatingly entertaining, The Invite is an adult drama with a 70s feel. Brilliantly performed and written there’s a natural awkwardness flowing throughout, bringing plenty of laughs as the sharp drama quietly grows within it.
Cert – U, Run-time – 1 hour 30 minutes, Directors – Pierre Coffin, Patrick Delage
1920s Hollywood, the Minions (Pierre Coffin) arrive and quickly become big stars, but with the arrival of sound a monster movie idea could be the thing to help them, until it breaks beyond the studio.
Illumination has been criticised almost since its debut feature, Despicable Me, 16 years ago of playing into convention. Overfamiliar animation style, safe jokes and a cycle of ideas that appeals more to the younger members of the crowd. Even for me, having fond a general liking for their films, it comes as a surprise that the third main outing for their Minion mascots, Minions And Monsters, is as cine-literate as it is. Within minutes of crashing into 1920s Hollywood, in search of a new big boss, we’ve seen a quick succession of references to Chaplin, Lloyd and Keaton.
References to early and genre cinema are scattered throughout this story which sees the Minions (voiced by creator Pierre Coffin) taking over Hollywood. But, when sound arrives and noone can understand them it’s up to leads James and Henry to use the former’s creativity and storytelling skills to make a monster movie that could save them all, if it doesn’t backfire and threaten to destroy the world.
As the story unfolds we hear voiceover from Allison Janney as a movie museum tour guide, explaining to a group of tourists who James and Henry are. It’s this strand that contrasts with the Looney Tunes-style slapstick of the central yellow characters as the tone almost seems to talk down to the younger audience members. Not quite patronising, but still in a way that feels almost uneasy for everyone else, especially in comparison to the simplicity and easy-going nature of the more upfront antics. We’re trusted to understand Minionese for stretches of time, the actions and gestures speak for themselves, what’s being said isn’t important. So, when narration is at the fore why does the film feel as if it’s talking down, or just needing to explain?
The same feeling doesn’t come with other English-speaking characters such as Jesse Eisenberg’s Dort – claiming to be an alien robot seeking a team to help him destroy Earth. A group of Minions follow him as their new evil leader and while amusing there’s a slightly sketch-like feel to some of the sequences as they never have the same push as the direct monster movie ventures of James, Henry and Ed, a Minion who communicates with sign-language. It’s with them that the film has the most joy, and chaos. There’s slapstick elsewhere, and a good number of chuckles throughout the quick 90-minute run-time, but particularly in scenes that lean most into the main titular action.
Set-pieces and action sequences allow for both the biggest scales and most laughs. An out-of-control train chase is packed with gags and silliness, while the climactic battle, and its Star Wars references, provide plenty of giggles with just how much happens. Whilst Minions explosively attack one dressed as a clown charges forward in true golden age cartoon style firing plastic guns displaying tiny banners that read ‘Pew!’ from the barrels.
From the opening montage putting the world-famous characters into some of the earliest pieces of cinematic footage it’s clear that something different is happening here compared to their previous two outings. And once things get going and the cineliteracy takes the stage, alongside the true slapstick silliness that can come with the characters, the more direct moments that embrace the humour and allow things to pan out rather than be unnecessarily explained create plenty of chuckles and may even bring some people round on the Minions, even if just this once.
While side-plots might feel slightly sketch-like there’s plenty of amusement in the slapstick and cine-literacy of Minions And Monsters monster movie core that keeps the laughs coming, and brings something different to this franchise.
Cert – 15, Run-time – 1 hour 56 minutes, Director – Anders Thomas Jensen
After being released from prison Anker (Nikolaj Lie Kaas) goes to his brother, Manfred (Mads Mikkelsen), to find the money he stole. However, Manfred has DID, believing he’s John Lennon, and can’t remember where it’s hidden.
As director, Anders Thomas Jensen has found a home blending genres with deadpan Danish expressions and dark comedy. Often placing them into ever so slightly off-kilter situations, or pulling occasional comedic beats from the seriousness of the narrative – such as in his previous feature, 2020’s Riders Of Justice. While not a complete stumble, the writer-director’s latest feature, The Last Viking, suggests that there’s only so much that can be brought together under one style before feeling too busy.
Busyness may not quite be the right term for The Last Viking, but it certainly falters under the various tones that are at play amongst the dead-pan style. Anker (Nikolaj Lie Kaas) has just been released from prison having committed a bank robbery. One of his first actions is to visit his brother, Manfred (Mads Mikkelsen) to find out where the money has been buried. However, past trauma, Dissociative Identity Disorder, and the belief that he’s John Lennon – cue a selection of ill-performed Beatles tracks – mean that Manfred has forgotten where he hid the money years before.
As a history of trauma for the brothers is looked at alongside a potential therapy with other DID patients who believe they’re the other members of The Beatles – although one amusingly only performs ABBA songs – things start to feel slightly rough around the edges as they play out around Anker’s search for the loot from his bank job years prior. Each strand has a slightly different tone, mixing the comedic and dramatic styles that are at play, but not quite enough for them to fully gel together. Yes, there are effective ideas at play in the final stages; even if still featuring in tonally shifting flashbacks which could land more of an effect in a slightly more consistent film, but as a whole the near two-hour run-time largely feels like its feeling changes every couple of scenes.
Mikkelsen and Kaas, both of whom have worked previously with Jensen, put in good performances, helping to lift a somewhat scattered script. The supporting cast, too, put in good turns, especially during bigger, more heated interactions. There are ideas about what people have done with and made of their lives, what they’ve wanted for them and have done/ are doing instead. As the film reaches its conclusion these link rather well with the pasts of the central siblings, although I do wish that they had been given a bit more space and time to breathe.
For the most part The Last Viking is an interesting film that has its moments, especially those focusing on the connections formed between the characters. Whether the history of the central pair, or a simple jam session where nobody is playing the same song. Unfortunately, the tonal shifts start to create a slightly bumpy journey where, much like the money being searched for, the core ideas can start to feel a bit buried amongst the changes between the strands at hand.
A likable slice of Danish deadpan that occasionally loses its bigger ideas in its tonal shifts. While there’s some amusement, and emotional connection on and off screen in the third act, it can sometimes be a bumpy journey to get there.
Cert – 18, Run-time – 1 hour 32 minutes, Director – Jeff Tremaine
The Jackass crew look back at over 25 years together with one final round of stunts, pain and laughs.
“This is the kind of extreme s**t those extreme dudes don’t even think about” says Chris Pontius looking at the scale of Jackass 3D’s Poo Cocktail Supreme. It’s one of the revisited segments in the fifth and final outing for the cast under this banner; and there’s no denying that the gross-out laughs are heightened on the big screen.
Thankfully, Best And Last isn’t just a clip show – throwback segments also feature new footage, such as Jackass Forever’s highlight Silence Of The Lambs now featuring Bam Margera’s experience after he was largely cut from the film. There are plenty of new painful stunts and sequences on display as the main cast say goodbye after over 25 years of admitted stupidity.
The new sequences may not be anything death-defying, focusing more on the crude and aforementioned gross-out – a laxative-enhanced round of Twister is one not be watched shortly after eating – but the fact the main cast are mostly in their early to mid-50s is acknowledged. Steve-O leads much of this kind of stunt, featuring early on in a robot-provided prostate exam, and his bond with those around him is clear. However, not all cast members get much to do in the edit, new faces such as Rachel Wolfson and Jasper have nothing to do but stand and watch while staples Dave England and Preston Lacy feel rarely involved.
Yet, while this makes for a reflection for series lead Johnny Knoxville, and director Jeff Tremaine, with unseen footage also glimpsed of some of the initial stunts from the TV show, there are intentionally only hints of emotion amongst the laughter. There’s a slightly more intimate (of course taking on different meanings for Jackass) nature to the stunts; closer and less spectacle based. Calling back to the early TV days, just with a small budget being made the most of. Someone being hit in a private area or given an electric shock can illicit just as much laughter as being propelled sky high.
As was observed widely around the release of 2022’s Forever, this is a franchise that’s long showed a range of figures laughing with, rather than at, each other. It spreads throughout the cinema, even in lightly attended screenings, and you feel a part of the group. Through laughs, gasps and audible winces. You see the worry for their friends before everything is shown to be alright and the smiles grow. There’s a healthy friendship on display from multiple angles, and the joy comes through in the very final sequence which recalls the giant shopping trolley opening of the first feature outing for the group (the only film in the series I’ve not got on with, finding a cruelty in some of the segments).
Fans will be far from disappointed, those who know this isn’t for them will almost certainly remain that way. Even with smaller scale segments the core of friendship and laughter is once again on full display, even more so with age. A welcome light lookback with plenty of laughs in the newer segments, too. Jackass closes as a true cinema audience experience.
More scaled-back, but in doing so highlighting the friendship and laughter amongst the gross-out stunts on display. This is a well-measured mix of old and new that closes 25 years of embraced pain and stupidity with one of strongest outings for the Jackass crew.
When her dog has days to live, Kara Zor-El (Milly Alcock) searches planets to get revenge and the antidote, with a weapon-maker’s daughter (Eve Ridley) joining her, seeking vengeance for her parents’ murder.
Supergirl kills. Yet, this isn’t what differentiates her story from her cousin Superman’s (David Corenswet) DCU-launching venture last year. While that was a film full of hope there’s not so much pride and patriotic spirit on display here. The dial isn’t turned all the way to darkness and hopelessness, but Milly Alcock’s Kara Zor-El wanders the galaxy looking for planets with red suns in order for her powers to be toned down and her ability to get drunk turned up. Turning 23, she’s dwelling in the past that saw her sent away to Earth, much like her cousin, although long after the destruction of Krypton.
Floating in a sense of grief and isolation, Kara sets out for revenge when her beloved dog Krypto is suddenly poisoned, given three days to live, by pirate Krem (Matthias Schoenaerts). Alongside her is equally vengeful teenager Ruthye (Eve Ridley), insistent on her joining Kara so that she can kill Krem for the murder of her parents. The pair journey from planet to planet in search of, or sometimes having been taken by, Krem and his fellow pirates. Paired with the soundtrack there’s a feeling as scraps and bar fights unfold that calls back to DC co-head and producer James Gunn’s Guardians Of The Galaxy films.
Alcock makes for a likably sparky lead with a rebellious streak within her character’s charm. She works well with Ridley who settles in quickly and the pair form an engaging bond and journey, one where a clear effort has been put in to making this a tonally different film to Superman without feeling too intensely done or engineered. There’s an assured self-confidence on display, especially in the quips she cracks just before, or as, a fight breaks out.
The grief that the titular hero feels is delved into in a lengthy flashback sequence around halfway through, introducing further details in the second half much more than the bursts and suggestions we initially get. It’s with this that the film starts to slow down, trying to develop Supergirl but ending up dwelling a bit too much on the past at expense of the current action. There’s still an entertaining third act, even if the camera turns some of it into a bit of a blur as it chaotically spins around it before panning back to Jason Momoa’s flying-motorcycle riding bounty hunter Lobo – only lightly, although amusingly, featured.
However, the pacing of the film is disrupted somewhat with the flashbacks and the way they start to be leaned into after the main one showing Kara’s origins, or at least reason for being sent to Earth. The tone and style, unlike that of the wider film and Supergirl herself, feels more forcefully pushed, especially with the slower nature. Weighing down the plot that’s still building up to the final showdown with a more noticeably familiar arc, too. There are still some chuckles and likable action beats, and as a whole there’s a rather entertaining film here thanks to the central character and the spark she provides throughout; especially in contrast to her quick-to-protect-whoever cousin. There may be some bumps along the way, but Supergirl generally takes enjoyable, punchy flight in its action and push from Alcock in the lead role.
While flashbacks might start to wear it down and bring out conventions, Supergirl still makes for enjoyable, if at times bumpy, viewing. With help from Milly Alcock who brings out a spark and punchiness in both her character and the fights she’s involved in.
Martin Scorsese has described the 80s as the worst decade for him personally. With his highly-acclaimed Goodfellas arriving at the start of the 90s there’s part of it that feels like he may have been looking back at the previous decade, and beyond. From the tumultuous production of New York, New York to the long journey to his passion project The Last Temptation Of Christ. I look at Scorsese’s cool, confident, fast-paced possible reflection on this in my introduction for Goodfellas.
The audio in the video below was recorded specially and read from the rough introduction that I had written before the screening, held on Monday 22nd June 2026 at The Little Theatre in Bath, shown as part of Picturehouse’s year-long Scorsese season.
If you don’t own a physical copy of the film, you can find where you can watch Goodfellas here.
Cert – PG, Run-time – 1 hour 42 minutes, Director – Andrew Stanton
As Bonnie (Scarlett Spears) grows up her toys have different views on how she should make friends compared to her new hypnotising tech device Lilypad (Greta Lee).
Toy Story saw the sudden arrival of a new favourite amongst the toys of Andy’s bedroom. Toy Story 2 saw multiple Buzz Lightyear’s experiencing the world of play whilst Jessie revisited her past with owner Emily. The trilogy closer looked at ideas of separation and moving on. Toy Story 5, following on from the solid, philosophical questions of what it means to be a toy that Toy Story 4 looked at in its sort-of-epilogue, appears to look back to this original trilogy for much of its events.
There’s not a sense of a victory lap but at times an accidental re-tread this around. As the franchise reaches 31-years-old tech has finally entered the world of play, and completely changed it. Now eight-years-old Bonnie (Scarlett Spears) is struggling to make friends as everyone around her is focusing on tablets rather than toys. As she tries to introduce other kids to Jessie (Joan Cusack) and Bullseye she’s almost laughed at, quickly giving them back to her dad in exchange for electronic Lilypad (Great Lee).
The toys have been the heart of each of these films, and their relationship with their owners. This time around Bonnie is the heart of the film, many of the best moments revolve around her as she faces an addicting, and sometimes harsh, online world. As her toys become ignored, with Jessie fearing a repeat of her first owner Emily, who we see flashbacks to with the still tear-jerking When She Loved Me returning in Randy Newman’s once more integral score, Bonnie’s personal journey creates the most emotional impact. Both in terms of the joy of play – this time around we don’t see the full-world environment of what’s in the child’s mind or the simple play but a different colour scheme and animation style for the unfolding fantasies; creating a handful of wholesome chuckles – and the emotional beats, although only a few specks of dust are present here rather than enough to require a vacuum.
Toy-wise, Jessie is the focus here. She’s become the sheriff of the toy gang and is determined to prove that toys can still make friends over the draw of tech. As a consequence of the events of the previous film Woody (Tom Hanks) has somewhat been reduced to the Buzz role of that instalment, called in to assist with the fight against Lilypad; while Buzz (Tim Allen) still feels like an idiot, a very different character to who he was in the first three films. To make up for this we find an army of hi-tech Buzz Lightyear’s exploring the world, trying to find Star Command, after washing up on an isolated beach. It becomes clearer and clearer as the busy narrative – jumping back-and-forth between characters and rescue efforts – unfolds that this strand feels put in place for the convenience of resolving all other matters. The more they come into the picture and we see them playing a role in the developments the more everything seems very convenient, even if there is one nice call-back involving them.
Toy Story has long been rather simple narratively, although layered as part of that. There’s not as much layering happening this time around, in fact at times it can feel a bit preachy, and while somewhat simple the construction of the plot makes it sometimes feel very busy. It wants to give each character their moment, while spending time with new ones; human, tech and toy.
Jessie brings in some emotional moments as she revisits her past, with Cusack still charging full-force with her performance while Hanks and Allen continue to have genuine soft spots for their characters, placed best when once again looking at the role of a toy and the time they have with a kid – à la the ending of Toy Story 3, with hints of her aforementioned flashback song in the second film. Yet, for a Toy Story film it’s the human we have the biggest bond with, and who most spurs much of the action. The joy of play, the pain of tech, and other people, and yet how both can work together. The chuckles and tears may not quite be as present here, but there’s a film that has its moments amongst a narrative that feels busy with construction based largely around the events of previous films.
While still holding some Toy Story spirit the emotion and laughs aren’t quite on the same level as this fifth instalment, getting the most impact from its human characters and their relationships with toys and tech, feels busy with multiple strands, some seemingly more for convenience, and familiarity with previous entries.
Just A Little Bit Random 