Toy Story 4
Forgot your password?
Don't have an account? Sign up here
and the Terms and Policies,
and to receive email from Rotten Tomatoes and Fandango.
Already have an account? Log in here
Please enter your email address and we will email you a new password.
No user info supplied.
Surprisingly, refreshingly, and most assuredly, this 2019 remake of the eponymous horror classic (directed by Lars Klevberg, the filmmaker behind the deplorable horror film "Polaroid") is not only perfectly acceptable, but honestly pretty good. A revisitation of narrative material that tries neither to completely replicate nor bastardize the original story in question, "Child's Play" offers just enough of the spirit and tone of the original without slavishly adhering to the exact story beats and offering nearly as many moments of fan-service that we've seen other remakes commit to as of late. Yes, some of the puppeteering and design work is suspect, but the kills, performances, and visuals? Shockingly enjoyable. This is a tight, well-realized horror thriller with a great personality and a ton of laughs. I honestly am stunned to say that I wouldn't mind seeing another.
A while back, I remember catching a bit of this on TV, being really captivated by the use of narration and the lead performance, and then never getting around to finishing it. It's remained on my watchlist until this very day. And as far as I can tell, my first impressions of the movie weren't exactly too far off from my more thorough thoughts on it now. As a showcase of narrative voice and tone alone, "The Weather Man" is definitely worth a look, featuring a refreshingly acerbic take on life, death, work, love, and the human condition. And though some of that sardonicism can get a bit too esoteric at times for my tastes, I found this to be a pretty vibrant effort from writer Steven Conrad overall. Director Gore Verbinski also manages brilliantly, somehow making the familiarly desolate winter landscapes of the Chicagoland area palatable to the eye. And Nicolas Cage is in top form, proving once again that there really, truly is a gifted actor underneath all of the goofiness he's showcased in some of his more recent entries as a performer. All in all, I'm glad I revisited this. It's a successful dramedy on the whole. Even if it does tend to veer a little too far into the weeds here and there.
One of the more aggravating and confounding releases of the year, based solely on the fact that it's both a genuinely good movie in its own right and one that I don't necessarily think any of us needed. I definitely won't be alone in saying how perfectly I felt the franchise's third installment seemingly concluded things for Woody, Andy, and the gang, with any mutterings of a potential fourth iteration being met with unadulterated skepticism and even derision on my part. But to be absolutely fair, this movie is terrific for the most part, with a lot of the emotionality really hitting home with me, and the animation pushing the needle even further into the realm of photorealism. This in mind, though, could I live with the hypothetical threat of someone "Eternal Sunshine-ing" this movie from the annals of my memory? Yeah, I'd be okay with it, I suppose. Can I say that for any of the other three installments? Personally, no. That's an issue for me, but to be sure, I understand the overwhelming praise. I just hope "Toy Story 4's" success doesn't act as a precedent that studios will use to justify other future exhumations of presumably dead franchises.
Director Mervyn LeRoy's adaption of the Ira Levin teleplay (which, in turn, was an adaption of a novel by Mac Hyman) "No Time For Sergeants" features yet another endlessly entertaining performance from the cinematically underutilized Andy Griffith, a fun set of circumstances and characters to work with, and a couple fantastic bits layered throughout. What I can't get over, though, is just how unevenly plotted and adapted this film was from whatever version of its source material it tried to embody most. From a neglected, fourth-wall-breaking monologue thread that really goes nowhere beyond one or two scenes of the protagonist talking to us, to the overall narrative itself, which honestly felt more novelistic to a fault than cinematic, I just couldn't shake the feeling that things were a bit too wonky on the narrative end. Other than this glaring issue, though, I found it to be a mostly pleasant watch.
What finer way for Joe Johnston to debut his crowd-pleasing, effects-driven, high-concept-friendly directorial expertise than with "Honey, I Shrunk The Kids," an imaginative, fun, and refreshingly simple film with basic, yet effective character work, brilliant set design, and a terrific score from the late, great James Horner. Toss in the eminently likable Rick Moranis in what some would say is his most iconic role, and you get a real solid time.