Science fiction is an amazing genre. You can be anyone, anywhere at any time doing anything, with the only actual limit being your imagination. The realm of animation is the same and perhaps nobody knows that better than PIXAR Animation Studios. Their first feature film – 1995s Toy Story – is a landmark of cinema and they continued to push the boundaries of possibility with films like 2002s Monsters Inc and 2003s Finding Nemo. Today, Toy Story remains one of their most profitable IPs with 3 sequels and numerous shorts but clearly, they’re not done yet. Their most recent release is the first one to hit cinema since 2020s Onward, thanks to the COVID Pandemic, and it’s a wonderful return.
Lightyear sees Space Range Buzz Lightyear marooned on a distant planet with entire spaceships worth of people, determined to get them home. To do so he must perfect the formula for a hyperspace crystal and battle an armada of robots led by the mysterious Zurg with the assistance of several not-quite-rookies. The trailers may imply that this is an action blockbuster akin to the later Star Wars films but it has more in common with the 1977 original. There’s action, but it’s more focused on the main character and his journey, both across the barren landscape and emotionally. Chris Evans slides seamlessly into the role made famous by Tim Allen without ever feeling like a stand-in or replacement. The other characters can be fun too, especially the Hawthornes and Sox but Mo and Darby can often feel a little one-note.
The film is filled to the brim with references and homage. It may not be to everyone’s taste, especially if you dislike things feeling too meta, but others are sure to get a kick out of it. For sci-fi fans, there are plenty of recognisable callbacks to some of the finest films ever produced in the genre. There are elements of 2001: A Space Odyssey, Star Wars, and Alien that aren’t difficult to find with Lost in space being especially prevalent. There are plenty of nods for Toy Story fans too. A large amount of the dialogue is lifted directly from Buzz’s lines in the first two Toy Story installments without ever feeling forced or out of place. Even a few of the camera shots are direct parallels from previous movies, particularly the iconic scene of Buzz landing on Andy’s bed.
Tying it all together is the majestic score from Michael Giacchino who is one of the finest composers currently working in the industry. This marks his 8th collaboration with PIXAR and he continues to bring something new to everything he writes. The Incredibles was perfectly heroic. Ratatouille was suitably quaint and Lightyear aptly provides the space-traveler feel. It helps this to feel like the kind of movie that would inspire a TV show like Buzz Lightyear of Star Command.
A TV show that actually happened, aired on the Disney Channel, and never got a proper release after the fact. It deserves to be released DISNEY.
As previously mentioned, it won’t be for everyone. Some may find it slightly derivative of other sci-fi stories or may find that it doesn’t hit as hard emotionally as other PIXAR productions but it never feels like it set out to do these things. It exists to tell an entertaining story with some amazing visuals and it does that. As “kids’ first sci-fi” it’s brilliant, introducing a wide variety of concepts and explaining them simply. It feels like a love letter to the genre and the realm of animation.
It doesn’t go to infinity or beyond but it’s still worth travelling to see.
*Dedicated to my mother, still around and still loved. Thanks for raising me.*
PIXAR Studios has always pushed for innovation. It is the leading company in CGI feature films and has been since its establishment in 1986. It led the way in animating hair, developed new codes for reflection, and has spent the last 7 years pushing for diversity in animation. This diversity is present both on-screen and behind the scenes, whether it’s people of colour or members of the LGBT+ community. This is why it’s no surprise that their 25th feature film Turning Red is a culmination of all this.
The plot sees newly 13-year old Chinese-Canadian Meilin “Mei” Lee struggle with a newfound power – namely that any strong emotion will cause her to transform into a Giant Red Panda. Along with her 3 best friends Miriam, Abby, and Priya, she seeks to exploit this ability to raise money for tickets to see her favourite boyband 4*Town, behind her family’s back. Even if it wasn’t tactfully handling representation, the story itself is brilliant. It’s an open and honest discussion about adolescence, maturity, and generational trauma. As a newly transformed Mei hides from her mother in the bathroom, their lines of communication cross, and her mother thinks that Mei is finally getting her period. The period isn’t the punchline here, the lack of communication is, with the period itself being treated as normal. It’s an inevitability that her mother has prepared for and is more than willing to help her through. Her mother isn’t antagonistic here, or really anywhere in the story, because the real antagonist is the friction caused in relationships by children growing up.
Mei’s friends are also a great example of this. They all love her but lament her lack of freedom. They don’t resent Mei or her parents for it, they just wish they could spend more time with their friend. This is especially true of Miriam, whose tomboyish looks and particular fixation on Mei lead me to wonder if this is the LGBT+ representation that Disney won’t allow PIXAR to put in their films. On top of this is the portrayal of all 4 girls and to a larger extent their classmates, who are all a little bit cringeworthy. This is as it should be because all 13-year-olds are and that’s not a bad thing it’s just a natural part of growing up. All the children remain likable, even the class bully Tyler who clearly just craves the attention he lacks elsewhere in his life.
The largest story beat is about family. Turning Red shows how parenting styles can affect children of all ages and how the number of siblings can affect parenting too. Mei is extremely close with her mother, even as she begins hiding aspects of her life from her. It’s clear that growing up doesn’t have to mean growing apart and that, even as children get older they can have a fraught but loving relationship with their parents. The relationship between Mei’s mother and Mei’s grandmother is just as important to the plot as the one between Mei and her mother. Mei’s mother was equally shaped by her upbringing, down to her dislike of boybands and their gyrations.
Every boyband parody in the last 20 years has taken inspiration from the boyband craze of the 1990s- specifically N*Sync and Backstreet Boys. Turning Red does this but it also incorporates aspects from the 2 decades since then. There’s a little bit of JLS and a little bit of BTS which helps this slightly tired cliche feel new and timeless. Most of the higher-ups on this project were young teenage girls in 2002 when this film is set, and it shows but the most astounding aspect to me is the animation. The anime influence is everpresent in the comically exaggerated facial features and action shots that look like they’re fresh from the pages of a manga. There’s a lot of classic Chinese influence in there too, which again provides that blend of old and new.
Turning Red may be the latest in a long line of films centered on human (or human-like) characters but it feels like classic PIXAR. It provides nostalgia for a year I’m too young to remember and a lifestyle that I never lived.
Unlike the PIXAR Theatrical Shorts which were made to accompany the feature length films when they were released to cinemas, the DVD Shorts were made to be bonus features on the DVD releases of those film. These were not about pushing the boundaries of animation but were instead about pushing the boundaries of their worldbuilding. Each one occurs within the world of a PIXAR motion picture and, occasionally, within the plot itself. With the release of the streaming service Disney+ it is unknown if they will continue to make these Feature-Related Shorts for DVD releases or for Disney+ directly, though I sense it may be the latter. That’s a real shame because they were always a highlight of DVD releases.
Mike’s New Car(2002)
I love this short because you get exactly what the title tells you you’re going to get. Having got rid of his old red sports car that Sully wouldn’t let him drive to work in Monster’s Inc, Mike has bought himself a new 6-wheeled automobile equipped with all the gizmos. Attempting to demonstrate the capabilities, Mike is beaten, battered and bruised by the vehicle in a slapstick-fest. Violence does the talking and it’s wonderful.
Jack-Jack Attack (2005)
My absolute favourite DVD Short that PIXAR has ever made and another vehicle for slapstick. It tells the tale of Kari’s eventful night babysitting young Jack-Jack Parr who has decided to suddenly explore his many superpowers. This was the first time pre-Incredibles 2 that we saw anywhere close to the full range of his capabilities like teleportation and laser eyes. I’ve always felt bad for poor Kari because babysitting can be hard as it is but she got a super baby but it is nice to get some closure on her part of the story. Also possible that the Mozart-Piano Sonata no. 11 in A Major sparked my interest in classical music.
Mr Incredible and Pals (2005)
This is the most absurd of these Shorts that you will ever lay your eyes upon. It’s an early 1960’s serial of the show Mr Incredible and Pals featuring Mr Incredible, Frozone and their bunny sidekick Mr Skipadoo as they fight the villainous Lady Lightbug. All the bad serial effects are here from still images of the landscape to the actors real mouths inserted over the characters’ to the blatant message of democracy. It is probably the dumbest thing that PIXAR has ever created and I love it with every ounce of my big, nerdy heart. I’d take a whole show.
Mater and the Ghostlight (2006)
I’ve made no secret about how I’m not the biggest fan of Mater so seeing him be the butt of the joke is kind of cathartic. After playing numerous pranks on the cars of Radiator Springs, they decide to get their own back by telling him the story of The Ghostlight and leaving him to traverse home in the dead of night by himself. When the Ghostlight finally appears, you know that this is also a prank but there’s a good message in here about receiving a taste of your own medicine.
Your Friend the Rat (2007)
Not content with Ratatouille being one of the finest PIXAR films there is, they decided that a fun history lesson was also necessary. Hosted by Remy and his brother Emille, we are taught the history of the rat from the Roman Empire, through the Black Death to today. This short is particularly interesting because of it’s combining of animation styles like 3D, 2D and even a musical number to close. At 11 minutes, it’s longer than usual byut not a second of that time is wasted.
BURN-E (2008)
Taking place during the events of Wall-E, a Basic Utility Repair Nano Engineer (BURN-E) attempts to repair a running light on The Axiom after it is hit by a meteorite (accidentally caused by Wall-E). Much like the movie it takes place during, there is no dialogue but it still manages to be compelling. You’ll really believe that this little robot is losing his mind and it’s really funny to re-watch Wall-E with this short in mind. I’m sure there’s a lesson about the Butterfly Effect in here somewhere.
Dug’s Special Mission (2009)
Taking place during the events near the beginning of Up, it shows how Dug came to be sat on the exact spot that would lead to him meeting Carl and Russell. Dug is probably the most likable character from Up and seeing him try his best at the behest of the other dogs just warms my heart, There is so much innocence to this character and this short adds even more sympathy to his backstory.
George and A.J. (2009)
The only one of these shorts to be animated in 2D and it prospers for it, giving it the look of a storybook. Shady Acres employees attempt to collect more people for the retirement home but must survive a pensioner uprising cause by Carl. It’s a really neat look at the ramifications of a story like Up, even if those ramifications are utterly bombastic and fantastical.
The Legend of Mor’du (2012)
Another one that does what is says on the tin. In case you wanted to hear the tragic tale of Mor’du the Bear from Brave it is told here through 2D animation and a glorious narration by Julie Walters. Is Julie Walters telling a fairytale enough motivation to watch this? I think so.
Party Central (2013)
A rare Short from PIXAR as it wasn’t attached to a PIXAR film and was only released on DVD as part of The PIXAR Shorts Collection: Volume 3. Instead, this short was attached to the Disney film Muppets: Most Wanted and features the frat of Oozma Kampa, after the events of Monsters Uni, as they attempt to throw the biggest party on campus. Just utterly ridiculous fun to be had here but is also notable as a posthumous role for the late, great Joe Ranft.
Riley’s First Date? (2015)
Following the events of Inside Out, this almost acts as a small sequel of sorts. Having closed out the film by speaking to a boy, we see how Riley’s parents react to him visiting the house to pick her up and it makes her parents look every bit as embarrassing as she already thinks they are. This is less about the emotions and more about the characters themselves, which is appreciated.
Marine Life Interviews (2016)
I grew up watching the Aaardman show Creature Comforts and it was all I could think about when watching this short, which is possibly the shortest of the shorts. It contains interviews with the animals who interacted with Dory during Finding Dory and paints her character in the most positive of lights. I particularly like that they made the footage look sepia-toned like an old-style documentary. I love attention to detail.
Miss Fritter’s Racing Skoool (2017)
If you weren’t aware of how badly acted/choreographed local television advertisements can be then there is a whole level of subtext here you are missing out on. This short is literally an advertisement for Miss Fritter’s Racing Skoool, clearly organised by Miss Fritter herself and includes a few of her demolition derby friends. Seeing the homemade angle to this really brings back warm memories of my own time in front of a camera for school projects.
Auntie Edna (2018)
This is just Jack-Jack Attacks but with set during the course of Incredibles 2 with Edna Mode as the babysitter and I am more than okay with that. It is clear from this short that Jack-Jacks powers have multiplied and become more terrifying over time and it’s a little amusing to watch Edna – a superhero aficionado – struggle just as much as Kari did. I already loved Edna as a character but her relationship with Jack-Jack is really the icing on the cake. Shout out to the continued use of the Third Movement of the Mozart-Piano Sonata no. 11 in A Major.
Lamp Life (2020)
The first of these Shorts not to be released on DVD but instead to be uploaded to the streaming service Disney+. I’ve mentioned here because I think it’s worth noting as the service becomes bigger and contains more original content with each passing day. The story is that of Bo Peep, as she recounts her life between leaving Toy Story and Toy Story 4, which is a tale I think most of us were curios about and this short delivers. Special mention to Jim Hanks who continues to be the best Tom Hanks impersonator.
I have been a fan of PIXAR Animation Studios for as long as I can remember, and one of my favourite elements continues to be the theatrical short films released before their full length motion pictures. The tradition started before PIXAR Studios even existed, while the founding fathers were still working for Lucasfilm, and was a way for them to test the limits of 3D computer animation. The first 5 of these tests would be screened at the Special Interest Group on Computer Graphics and Interactive Techniques (SIGGRAPH) in Minnesota and would push the boundaries of their field, while the rest would accompany their theatrical features. While these full length films were important, they were primarily a way for PIXAR Studios to make money while they focused on innovation and advancing the art of 3D animation. Instead of ranking them in quality, I have opted to go through them in release order, because as far as I’m concerned, they are all as important as each other.
The Adventures of Andre and Wally B. (1984)
Created by the animators, led by John Lasseter, who would later found PIXAR Studios while still working for Lucasfilm, this short film is a mere 2 minutes and length but tells a complete story. The titular Andre has awoken from his nap to find the bumblebee Wally B inches from his face, and flees the scene before he is caught off screen as Wally floats back through the frame with a crooked stinger. At the time, it was revolutionary with its use of 3D tear drops, dotted tree leaves, motion blur and manipulatable shapes. The charm is completed by a classical music composition.
Luxo Jr. (1986)
Perhaps the most famous of all the PIXAR Shorts, and the first to be made at the studio, this short is also two minutes long. It features a large desk lamp watching a small desk lamp as they play with and eventually puncture a ball, which is then replaced by a larger ball. Without dialogue or faces, the short manages to provide both lamps with personality and emotion, which was groundbreaking at the time. John Lassester would later tell how he expected questions about the shadowing algorithm (which is superb) but was asked about the gender of the lamps. They have none. The film was rendered on the Pixar Image Computer which gave the company its name.
Red’s Dream (1987)
Clocking in at 4 minutes, this was the biggest project PIXAR Studios had developed so far. It tells the story of a discounted unicycle in a bike shop as he dreams of being in a circus act with a juggling clown. It was a character driven piece with a gloomy undertone and John Lasseter would later refer to it as PIXAR’s Blue Period. The impressive technical aspects are in the juggling, the rain and the price tag that hangs from Red. Of all the shorts, this one seems to be mostly forgotten but it is just as good, and as much of a testament to the company, as the rest of them.
Tin Toy (1988)
Created at a time when the Pixar Imaging Computer wasn’t selling so well, this needed to be monumental- and it was. It was this very short that would gain the attention of the Walt Disney Company, who would provide the funding for PIXAR Studios to create Toy Story. Clocking in at a staggering 5 minutes, this tells the story of a Tin Toy Soldier as he attempts to avoid being picked up by a baby named Billy. This one has possibly aged the most as it features the first 3D animated person, and the living room is noticeably scarce, but that gives it a certain charm. Of particular note are the PIXAR logo on the gift bag and the photo in the photo frame, which is clearly just a genuine photo that has been imported. Despite how it has aged, this is still a marvel of animation and one of my favourites.
Knick Knack (1989)
You most likely haven’t seen the original render of this short, because it was only ever sold to the public via the VHS and Laserdisc copies of Tiny Toy Stories. What you are familiar with is the 2003 re-render that was released to theatres. Either way, it’s a lot of fun. It follows a snowman in a snowglobe as he attempts to break out to be with an attractive woman who is part of the “Sunny Miami” ornament. The slapstick in this short and the simplistic designs really help this one to stand the test of time, and the score is one of the catchiest things I’ve ever heard. The original is available online, should you choose to go looking for it, but be aware it involves larger female appendages than the 2003 re-render.
Geri’s Game (1997)
I know this is the one I’ve seen the most, but it holds a very special place in my heart because of that. It tells of a pensioner in the park playing a dramatic game of chess with himself. It’s particularly noteworthy as the first short to be released in a theatre and the first with the current PIXAR Studios logo. It also marks the second short with a human character, although this one holds up considerably better than Billy. Lastly is the personality of Geri himself who might be one of the most likable characters ever created, despite never saying a word. If you’re a theatre student, or just a fan of acting in general, I feel like you could learn a lot from Geri’s performance.
For the Birds (2000)
We have reached the point where none of these shorts age because of the choice in animation style. Here we find a group of small birds sitting on a phone line before they are joined by a large bird that they dislike. What stands out the most are the details on the birds, like their individual feathers and the scratches on their beaks, and the annoyance in their eyes. Also, the sound effects in this one are just fantastic and the squeaks of the birds themselves may sound familiar to fans of Toy Story.
Boundin’ (2003)
Another major achievement for PIXAR Animation Studios and another one of my favourites. A sheep who adores his coat enough to dance about in it, is is shorn leaving him to be mocked by all the other sheep. Through a great American Jackalope, he is taught the benefits that come with being lighter like being able to bound high. This is the first short with dialogue and it was chosen to be a musical number that teaches a great message about self acceptance.
One Man Band (2005)
The first short to feature multiple human characters, with two men competing musically for an old woman’s coin. The background in this one is especially beautiful and is only topped by the musical score. There’s joy, determination, rage and fear, which are all demonstrated in the sublime facial expressions and the beautiful music. It’s perhaps at its best in the quiet moment near the end, and in the comedy contained therein.
Lifted (2006)
This is the only time that PIXAR Studios have done aliens, and that only amplifies the uniqueness of this short. A young alien in training attempts to abduct a human from their house using a control board with hundreds of switches and chaos ensues. I love how simple it is, using only what it needs to in order to tell its story. It also has some stellar use of motion blur, demonstrating just how far animation has come
Presto (2008)
As somebody who grew up with Tom & Jerry, The Looney Tunes, and Knick Knack, the tone of this short is super familiar to me. The often energetic animation, the comedic timing and the slapstick would be right at home with those classic cartoons. It tells of a magicians rabbit who makes the magician’s show difficult because he won’t give him a carrot. Unlike other shorts, there is no score throughout as many of the audio is sound effects. I love this one.
Partly Cloudy (2009)
Now that PIXAR Studios is well established and has an excellent grasp of animation, they’re really starting to experiment through their shorts. Here we focus on a cloud who creates ferocious baby animals for a living and the exhausted stork who has to deliver them. There is so much going on, like the fluffiness of the clouds, the feathers on the storks, the lightning effects and the fading sunlight. It also happens to accompany a wonderfully simple story.
Day & Night (2010)
This is another one of my favourites. It features the characters of Night and Day who each have a centre that acts as a window into their namesakes. It progresses as they demonstrate the advantages of each timezone from fireflies to sunbathing women. All the sounds are ones that you would organically find in nature like ducks, wolves, and frogs while the score is a mixture of classical music and an original jazz composition. Particularly interesting is how the short uses 2D for the characters of Night and Day while their centres are 3D.
La Luna (2011)
This is, by far, the most adorable of the PIXAR Theatrical Shorts. A small boy, his father, and his grandfather sweep shooting stars across the surface of the moon to change the shape of its glow. The father and grandfather are both different from each other, and the boy isn’t sure who he wants to be like, before deciding just to be himself. The entire story is told through facial expressions and vocal noises and the haunting score but its the stylistic animation that sets it apart.
The Blue Umbrella (2013)
A blue umbrella falls in love with a red umbrella and the foundations and buildings of the city work to bring them back together. It is the very first story centred on romance in this collection and that makes it special, which is helped by the lovely score. The biggest achievement is the animation, which is darn close to realistic and really set the course for PIXAR Studio’s animation going forward.
Lava (2014)
Another tale of romance but, this time, between two volcanoes modelled on Hawaiin singers Kuana Torres Kahele and Nāpua Greig who provided their voices. This is the second use of dialogue in one of these shorts, and once again it is used to provide a stellar song that tugs at the heart strings. This is also the most story based, choosing not to focus primarily on the animation, but it is still worth every second of its 7 minute runtime
Sanjay’s Super Team (2015)
The mostly true story of Sanjay is an important one the history of PIXAR’s diversity and follows the titular child as he daydreams about the Hindu Gods while bored during his father’s prayer. During his daydream, he perceives them as the superheroes in his favourite show and uses this as a way to bond with his father. The daydream itself also has a really nice, comic book style look to it but it’s how much this story means to the real life Sanjay, and the millions of other Hindus, that really make it important.
Piper (2016)
A reluctant baby bird traverses the dangers of the beach for the first time in search of food in a story that is just as adorable as it sounds. All of this would have been impossible for a computer to do 20 years prior but now the particles of sand and texture of the water seem like an absolute breeze. The score and sound design match perfectly while Piper herself is filled with infectious enthusiasm.
Lou (2017)
An amalgamation of Lost and Found items in a school playground known as Lou encounters and befriends a young bully who eventually helps return all the items in the box. The way that all these items interact with one and other is fascinating to watch and the story is as delightful as you would expect.
Bao (2018)
This would sadly be the last of the theatrical shorts, but it would also be one of their best. A Chinese-Canadian mother makes a steamed bun that comes to life and she decides to raise as her child. The eventual plot twist is an emotional gut punch that was worthy of the Academy Award it won, as is the animation and score. If it wasn’t already clear, diversity and representation is something that matters to the folks over at PIXAR Studios and we can only hope they are all as beautifully told as Bao
PIXAR Animation Studios would cease the creation of Theatrical Shorts with the release of Bao in 2018 but this does not mean that the PIXAR Shorts are no more. It was felt that instead of giving limiting the Studio to working on one short at a time, they would be better having multiple shorts on the go at once. These PIXAR Shorts have always been led by a sole creator who was relatively new to the company and that continues to be the case today with the Sparkshots Programme. These shorts would be released on the PIXAR Studios YouTube channel before migrating to the streaming service Disney+. They are continuing a long standing tradition and are definitely worth a look.
*DISCLAIMER: This list is based purely off my own opinion*
When it comes time to write these rankings, I usually already know roughly where a film will sit. Having grown up with both the Star Wars and Middle Earth sagas, I was already fully aware how each one of those films made me feel. The PIXAR Collection is another beast entirely. Not only is the list comprised of 23 individual films (a far cry from the 9 and 6 I had already done) but each film is a different type of film. Star Wars is all space opera and the Middle Earth instalments are all heroic fantasy but PIXAR films range from comedy to action to romance to fantasy. This was no easy task, and let me assure you before reading that you will almost definitely disagree, but this is my list. As far as I’m concerned, even the “worst” film on this list is only mediocre and numbers 9 through 4 are practically interchangeable to me. The top 3 however, will most likely continue to hold their positions.
23. Cars
If you were wondering what the early 2000s country music scene was like then look no further. Cars has proved to be the most dated of PIXAR’s films, but the only real flaw it has is how childish it is. Yes, it’s a children’s film but so is every other film here and they seem to have more decorum. To be fair, I was oversaturated with this one because it was my sister’s favourite so I’m probably a little biased.
22. The Good Dinosaur
This is what many consider to be PIXAR’s lowest moment, and I think that’s a little harsh. The animation is stunningly realistic in places and, although the plot meanders, that’s not a bad thing. I think that pacing is probably the worst aspect of The Good Dinosaur but considering the hell it went through to get made, it’s perfectly a reasonable result.
21. Cars 2
With a more Mater focussed plot, you’d think this would be my least favourite Cars instalment, but no. It gets credit from me for being a spy film in the same campy vain as Pierce Brosnan’s Bond with a stellar performance by Sir Michael Caine. Any film that is willing to go so ham with its plot is always a positive for me.
20. Toy Story 4
The original Toy Story trilogy is near perfect, as far as I’m concerned, however all the friendships and character development of those 3 films feel relatively absent here. I’m fine with having a solo Woody adventure but I kind of wish the film had allowed itself to do that instead of clinging to characters it practically ignores. I still get swept up in this one, just not as much as I would like.
19. Soul
The most recent addition to the PIXAR portfolio is good, but I feel like the ending lets it down. I’m also not convinced that there was enough jazz or time spent with Joe before he falls into The Great Before. Soul isn’t bad, it just doesn’t really hit me like that.
18. Onward
I’m a sucker for fantasy, world-building and stories centring on siblings so Onward was starting at an advantage. It’s a lot of fun, and has a lot of heart, but it feels the need to stick to the “buddy comedy” plot which I feel holds it back a little bit. Also, I really like the running gag about the Gelatinous Cube.
17. Finding Dory
Like Toy Story 4, Finding Dory chooses to focus on one character, but unlike Toy Story 4, it dedicates enough time to other characters too. Marlin and Nemo are never forgotten about or watered down as characters, but it allows so much more depth to Dory. Hank the octopus is also really well developed, with an understandably cynical edge, and they got Sigourney Weaver.
16. Brave
Braveheart is a fine film but when it and all the historical inaccuracies seem to be the primary representation for your home country, it starts to get a little boring. Luckily, Brave is an excellent depiction of Scotland with a suitably lore-heavy plot to boot. It doesn’t do for the country what Lord of the Rings did for New Zealand but I think it should have.
15. Cars 3
I think I’m starting to get sentimental, because the latest Cars film focuses on older versions of the classic characters and it’s my favourite of the trilogy. It’s also a fairly simple plot, unlike Cars 2, and doesn’t have to burden itself with the introduction of a whole tow, like the first. It could also have something to do with the Demolition Derby.
14. Inside Out
As far as handling the depiction of depression for a child audience, I think Inside Out does a superb job. It also fills the story with likable characters, an abundance of imagination and plenty of colour. Despite being relatively new in the grand scheme of PIXAR, Bing Bong has become a favourite character of mine.
13. Monsters University
To date, this is PIXAR’s only prequel and that’s fascinating to me. In all honestly, that’s probably the only route they could have gone down with a follow up to Monsters Inc because a true sequel would have risked cheapening the ending of the original. As prequels go, this one is rather inventive and demonstrates how the “here’s how we all met” plot can be done well.
12. Coco
I don’t think there’s anything in Coco that isn’t beautiful. Between the animation, the plot, and the soundtrack there is so much to fall in love with.
11. Incredibles 2
I love The Incredibles, and I liked the video game sequel, but this really knocks it out of the park in terms of action. It is an excellent demonstration of the evolution of the superhero genre, but it never loses that familial element that made the original so good.
10. Finding Nemo
There is such scale in Finding Nemo, making the ocean look incredibly vast and seemingly empty at times, but when there is ocean life, it is beautiful. It also has what remains to this day the darkest opening to any of PIXAR’s films, and the impact of that opening is never lost, regardless of how funny Finding Nemo can be.
9. Ratatouille
Many people are of the opinion that this is PIXAR’s best film and some have even referred to it as their Magnum Opus, which may be true. Personally, I enjoy the following 8 films more, but we have now hit a point in the list where the numbers are kind of irrelevant. Objectively, Ratatouille is as well made as the rest and it has the added complication of our protagonists being unable to speak to each other, which is handled sublimely.
8. Up
The first of PIXAR’s films to be helmed by Pete Doctor and he absolutely nails it on his first try. A lot of emphasis is placed on those opening 8 minutes, as it should be, but the rest of the film is just as good. An old man, a young boy and a talking dog is an odd dynamic, but it works well here. The late Christopher Plummer is also oodles of fun as the villain.
7. Wall-E
“Actions speak louder than words” has never been as true as it is in the case of Wall-E. With our protagonist having a limited vocabulary and often nobody to speak to, the film relies on telling its story with his surroundings, and aces it. There is straight up no dialogue for around 15 minutes, which would turn people off if done poorly, but it was used to the films benefit by allowing us to soak in Wall-E’s surroundings . Truly spectacular.
6. Toy Story 3
This works as a standalone film, and as the conclusion to perhaps PIXAR’s most popular story; it is such a perfect bookend, down to the very last frame, and you can tell how much love went into making it. Toy Story now exists as a quadrilogy but there is no denying that 1-3 told a complete story, and having grown up with that story, I love the ending.
5. Toy Story 2
Toy Story 2 is so good that it started development as a direct-to-video sequel which was upgraded to a proper theatrical release, and well deservedly. From the action to the character to the endless Star Wars references, I can only find enjoyment here. Don’t ever let anybody tell you that sequels are never as good as the original.
4. Monsters Inc
This film could be this high on the list for nothing more than how impressive the animation is. They had to write brand new codes to make some of the textures work, and it’s as good now as it was then. It just so happens to also have a fantastic plot, perfectly camp villain and excellent chemistry between the two leads.
3. A Bug’s Life
This film really sticks out to me because PIXAR have never really made anything similar. Everything else has a sequel or human characters but A Bug’s Life doesn’t, and that makes it really special to me. I also just love a good adventure story, and of all the films in this list, I think this one might be the funniest. The grasshoppers alone make this worth watching, as does the darkest ending I think PIXAR have ever done.
2. The Incredibles
I love superheroes, and the classic superhero aesthetic, and the grand sweeping theme songs. The Incredibles embodies all of that. It feels like a classic “comic book movie” in the very best sense of the term and that familial message really strengthens the story. It is pure unbridled superhero fun and I adore it as much now as I ever did.
1. Toy Story
Let’s be honest, it was only ever going to be Toy Story for the top spot. This isn’t an Objectively Best Movies list, it’s a list of my personal favourites and I’ve lost track of how often I’ve seen Toy Story. This film had an entire group of animators staking their career and, I think, as a result Toy Story feels like it was made from love. It’s witty and dark in all the right places and is a true testament to just how far the plucky little PIXAR Studios has come. I love it.
I have seen several film critics talking about PIXAR’s Soul and how philosophical its message is, and how much of an impact that message had on them. This is great, and I’m pleased that a film could resonate so deeply with so many people, because that is what this medium can do at its best… but it just didn’t hit me like that. Watching the reviews flooding in, it was difficult to not feel like I was somehow watching Soul wrong. Connecting with a film has never been difficult for me, especially when it comes to PIXAR Animation Studios who have a one way road straight to my heart. The message of Soul is that the best way to live life is to go out and live it, instead of worrying that you may never achieve your goals, and that is an important message to convey. I was having trouble comprehending why this wasn’t affecting me as much as I thought it, should and I came to the conclusion that it may have something to do with the film’s ending. To discuss this, I think context is important so I’m about to go through the entire plot which means that if you still have not seen it, this is your last chance to go in completely unspoiled.
The plot follows music teacher Joe Gardener as he finally lands a gig with a popular jazz singer, shortly before he falls through a manhole and dies. Instead of committing to death, Joe (now a soul) manages to fall into The Great Before – where souls are given their traits and their ‘spark’. Having been mistaken for a ‘mentor’ by the Archetypes of this realm (known as Jerrys) Joe is matched with the troublesome Soul 22, and they find themselves falling through a portal to Earth. Whilst 22 ends up in Joe’s body, Joe ends up in the body of a cat and the story follows them as they attempt to return to their rightful places- 22 in The Great Before and Joe in his own body at The Big Gig. Hijinks and heartfelt moments ensue, with 22 developing a spark for life before being thrust back into The Great Before and becoming a Lost Soul, while Joe returns to his body but finds that he still feels empty after his gig. Joe returns to The Great Before, saves 22’s lost soul and embraces his fate. Thus far I have been enjoying the story, which I found to be equally heartwarming and heartbreaking. 22 is seemingly being a better Joe than Joe, which has given her a lust for life that she has been lacking forever. Meanwhile, Joe feels like he has accomplished nothing in life but, in death, has accomplished something that is bigger than himself. It took dying for Joe to realise how he should have lived, but he finally gets to die feeling fulfilled.
And then he doesn’t die.
Joe has accepted his fate and is ready for The Great Beyond, but before that can happen, he is approached by the head Jerry who allows him the chance to return to Earth and keep on living. He accepts this offer, but given the way the film has been portraying its message thus far, I don’t think he should have. I understand that Soul needs a happy ending, and I don’t resent the decision to end the story like this, but I think it would have worked better if Joe had really died. I’m all for happy endings, but sometimes one that is bittersweet can work better. Sometimes we might only become satisfied with life through dying, and (depending on religion) there are no second chances. That really sucks, but that is life so you need to make the most of it while you still can.
There are so many things about Soul that are worth paying attention to and discussing, like how it is the first PIXAR Studios film centring on a Black protagonist and how their culture is represented. It’s also worth noting that Joe’s body spends the majority of its time inhabited by somebody who sounds like a middle aged white woman, but as a white girl, I don’t feel it’s my place to lead those discussions. What I can do is discuss aspects surrounding the release of the film and the ramifications of that.
Soul was release on Christmas Day 2020 directly to the streaming platform Disney+ for free (provided you already pay the monthly subscription fee). This is not the first major film to go to Disney+, with that honour going to the Live Action remake of Mulan several months prior, but it is the first to be ‘free’. Disney had caused quite the controversy when it announced that Mulan would be locked behind a $25 (£18) paywall, because while that was a reasonable price if the platform was being used by a family, it was not so fair on those who were the ‘soul’ proprietors (harhar) of their accounts. For whatever reason, it was decided that Soul would not suffer the same fate and, personally, I think that is a good thing. This along with the Warner Bros streaming service HBO Max announcing it would have same day releasing for the platform and cinemas (much to the chagrin of everybody in the industry) has led to discussions of the viability of this type of release going forward. It’s worth noting that there are pros and cons to on-demand streaming, but the bigger question the industry seems to be taking away from all of this is ‘will it kill cinemas?’. It’s also worth noting that as I publish this, the vaccine for COVID-19 is starting to slowly be rolled out across the globe, and that as a result, cinema trips won’t be a viable option for some time to come. Many are beginning to wonder if, given streaming, cinemas even should re-open as it doesn’t seem to be harming the pockets of big film companies thus far. Personally, I think that the entire conversation is an over-reaction to the current situation and that movie theatres will be just fine. After all, television did not kill the radio.
The one thing that Soul made clear to me was just how well tailored the feature length motion picture is to the big screen. There are so many shots in here that are either a vast expanse of darkness or of light, and I know that those are the kinds of shot that would envelop a cinema crowd. I miss that kind of experience on a level that may be difficult to explain to some people, and I feel that movies like Soul demonstrate why. This film is not perfect. but it really deserved a larger screen.
*Dedicated to my brother, whose continued enthusiasm in all he does continues to inspire me to be the best older sibling I can be*
I’ve been a cinema attendee for as long as I can remember and I’ve been watching movies for longer than that. There’s just something special to me about watching something in a cinema, regardless of the time of day. I’ve done morning shows, matinees, evenings, midnight premieres, repeat viewings and every single one is different. There’s a certain comradery when you watch something with a group of people, or indeed just one other person, and I don’t think I’ve ever taken that for granted. The cinema has always been there and I have always loved it. Then came 2020, a global pandemic and that escape from reality suddenly wasn’t an option anymore. A lot will be said about COVID-19 in the years to come and in the history books looking back but for those of us who have had to live through it, we will each have a different thing we missed. This is such a first world problem and a personal one but being without the cinema has really sucked. Watching something brand new for the first time on a 40inch screen just hits differently and the first of many experiences like that was the PIXAR film Onward.
The plot follows Elf brothers Ian and Barley as they embark on a quest to find a magical stone that will resurrect their dead father for 24 hours. Unfortunately for them, this quest comes with a time limit because they have already used up one stone to bring back his legs. As a Lord of the Rings fan, I was instantly onboard with a magical quest and the quest itself does not disappoint. Each of the mythical monsters that Ian and Barley encounter, even the ones that they don’t, are based on their respective counterparts in the RPG Dungeons & Dragons. The game manual’s publisher Wizards of the West Coast are given their due thanks during Onward‘s end credits. Not only is this dedication to the source material a neat nod for fans of the game but it could even be what sparks a new players interest in the game, as it did for me. It also leads to a brilliant running gag about The Gelatinous Cube, which might be my favourite in the entire film.
Onward‘s biggest strength is the bond between it’s two main characters and their individual relationships with their father. The eldest brother Barley was was a child when his father passed away so has very few memories of him. In contrast is Ian who had just been born so has no memories of him at all. This really is the crux of the film because if you have any experiences like this in your own life then it’s going to make the characters and their internal struggles more relatable. For me, it mirrors the relationship that me and my sister have with my Grandpa who passed away when I was 13 and she was only 6. We were both so very lucky to have been able to spend any time with him but I have so many more memories of him than she does. This is to say nothing of my brother who was born a couple of years later and never got to meet him, which hurts more than I can put into words. The other through-line is the brother’s relationship to each other, which again will hit differently depending on your life experience. As the eldest of 3 children I got to play a huge part in raising my siblings, though the age gap between us was larger than Ian and Barley’s. It’s difficult for me not to see my siblings in Ian and myself in Barley so by the time Onward is reaching it’s conclusion, I’m having all of the emotions. However the way in which the film reaches it’s emotional climax feels a little cheap to me, with too much of a focus on the Buddy Comedy plot structure. Our main characters have to fall out in order to realise how much they need/miss each other, which is fine when done well but Onward places their disagreement near the end of the film and resolves it 5 minutes later. It feels like that plot thread is only there because the creative team felt like it had to be and, for me, it’s the only real issue.
According to some people, there is a much bigger issue with the film and that is the setting/design. Onward takes place in a realm where magic exists but was forgotten by technology, meaning that their world functions like ours and some say that if this is the case then the film should have just featured regular people instead of fantasy creatures. Now I see where this criticism is coming from however I think that aesthetic is a perfectly viable reason for this choice. This fantasy world has brighter colours than our own and allows for some small design aspects like turrets on top of skyscrapers, not to mention all of the fantasy-based puns. The only genuine critique that I can take in this area is the designs of the characters themselves which, despite looking good, look like they were made by PIXAR. Early PIXAR films didn’t have a particular “style” and instead were more focussed on how they could push the boundaries of animation with possibly the best example being Monsters Inc. Their animation is still top notch but it feels like they’ve settled and aren’t really pushing boundaries anymore, although I hope that some day they will again.
At the end of the day, I still really like Onward and, had it not been for the global pandemic, i feel like it could have been a big hitter for the studio. Instead it is relegated to the second lowest grossing film, beaten only by The Good Dinosaur, although it seems to have done well on streaming sites and VOD services. I hope that this one isn’t forgotten and I’m glad to see that this has marked the next phase of original ideas from PIXAR Studios after their slate of sequels. If this is how that phase is starting, I can’t wait to see where it goes.
In my opinion, the original Toy Story trilogy is one of the greatest film trilogies ever made. All 3 instalments of that trilogy are entertaining, heart-warming and a brilliant demonstration of the progress in computer animation. At their core, they are all about growing up and grappling with the world around you, which is perfectly bookended in Toy Story 3 when Andy leaves for college and passes his toys on to the new child, Bonnie. As somebody who has grown up alongside these films and was 13 when Toy Story 3 came out, I straight up cried watching it. I struggle upon every re-watch not to tear up. It is one of very few cases that I can think of where people found the third film in a trilogy to end that trilogy perfectly (in a list that includes such hits as Back to the Future Part 3 and Star Wars: The Return of the Jedi). So you can imagine my surprise when PIXAR Studios announced that it would be entering production on Toy Story 4, a mere 9 years later. Over the course of those 9 years, there were short films which returned us to Bonnie and the rest of the toys, and this seemed to be all we would ever get, which was and is absolutely fine, but apparently PIXAR had a bigger story that they needed to tell.
The plot follows Woody as he attempts to look after Bonnie’s new favourite toy- a spork named Forky- whilst on a family roadtrip. Along the way, Woody loses track of him in an antique store and is re-acquainted with his former one true love Bo Peep, who is existing as a Lost Toy. Together they embark on a mission to rescue Forky from the clutches of an antique doll named Gabby Gabby, who has a broken voice box and wants Woody’s as a replacement. The first thing you may notice about this plot description is that I have not mentioned the rest of the toys. Rex, Slinky, Jessie, The Potato Heads and all the rest have gone unmentioned, because whilst this is a Toy Story movie it might be more accurate to call it Woody: A ToyStory, which is not inherently a bad thing. Woody is a hugely entertaining and lovable character, but if PIXAR was just going to focus on him instead of the group I think the title should have reflected that. The other toys do have a subplot, but sadly it doesn’t have much to do with the main plot and it is a little sad to see these terrific characters sidelined. Nowhere is this more true than in the case of Buzz Lightyear.
Over the course of the Toy Story trilogy, Buzz has undergone some major character development. He’s gone from a deluded Space Ranger to accepting his place as a toy to being a great leader for the rest of the toys with his own moral compass. He is as much a fleshed out character as Woody is, but Toy Story 4 relegates him to being a punchline. His subplot is that he thinks his audio files (activated by the buttons on his chestplate) are his conscience, and that doesn’t track as character progression to me. That being said, when the film isn’t doing that he gets to have some genuinely good interactions with the rest of the cast, in particular the new plush toys Ducky and Bunny. These two characters are voiced by the always hilarious duo Keegan Michael Key and Jordan Peele, who bounce off of Buzz’s dialogue with ease, providing a really fun relationship. On top of this we have newcomer Duke Kaboom: Canada’s Greatest Stuntman who is a wind-up motorcyclist voiced by the soothing tones of Keanu Reeves. I actually had a similar toy during my childhood, so I can personally attest to how fun these toys can be- and how heartbreaking Duke’s story is. All behind the scenes information will tell you that this was supposed to be a small role, that supposedly Keanu had concocted so much backstory for that PIXAR fleshed out the role. I have nothing to say about this and this was purely an excuse to remind you all of how wonderful Keanu Reeves is.
The real stand out performances for me are the female leads Bo Peep and Gabby Gabby voiced by the effervescent Annie Potts and Christina Hendricks. Both characters have clearly decided what they want from life but have to amend their way of thinking. Bo is a Lost Toy who clearly enjoys living without an owner, and has concluded that this freedom is the best thing for all toys. She only helps to rescue Forky because she loves Woody, but in doing so she comes to realise that a child’s needs are just as important as her own. Gabby Gabby on the other hand wants nothing but to be played with by one girl named Harmony. When this does not go as she expected, she realises that she doesn’t need the love of one particular child but of whichever child chooses to love her. In essence, both Bo Peep and Gabby Gabby come to the conclusion that they can be played with and loved by anyone, but Gabby is willing to stay in one place for longer than Bo. Both characters are more similar to each other than they would admit, and so they start off disdainful of each other before their relationship progresses naturally. Again, Toy Story 4 only focusses on a few characters, but these stories are handled with real care and have as much heart as was present in any of the 3 previous films.
While we’re on the topic of “things that are present across the quadrilogy” it’s time to talk about composer Randy Newman. I really like his music and I think that it suits this franchise beautifully. You’ve Got a Friend in Me is so globally recognisable that I’m surprised that PIXAR haven’t made it their official theme like Disney with When You Wish Upon a Star. I’m also incredibly grateful that they haven’t, because it would completely alter that songs context and limit the way that PIXAR films can open (like the subtle Incredibles 2 opening). However there is a noticeable difference to me between the score for Toy Story 4 compared to the former trilogy and that is the amount of re-used music present. I am all for continuing musical motifs, and it is one of my favourite aspects of film scoring, but the blatant use of it here is really jarring to me. Operation Pull Toy and Buzz’s Flight are particularly guilty of this, but on the other hand the new pieces of score are as good as anything that he has previously composed. My personal favourites are School Daze and A Spork in the Road which hit all the right emotions.
Finally, I couldn’t do a PIXAR film without talking about the animation. I think that if you want an accurate timeline for this company’s progression in computer animation then the Toy Story quadrilogy provides 4 perfect snapshots. Toy Story in 1995 was their first full length feature film demonstrating where PIXAR started from. By the time Toy Story 2 was released in 200 the technology had improved so much that they had to rebuild the character models from the ground up. By Toy Story 3 in 2010 their human characters finally looked closer to humans than clones of Andy, and in Toy Story 4 you can see Woody’s stitching. I don’t think that this progress will ever cease to amaze me, and I hope that I never take any of this progress for granted.
Ultimately, the world did not need Toy Story 4. It was probably ever going to serve as the epilogue to an already close to perfect trilogy, but despite its flaws, it still has the heart that made this franchise great. Toy Story 4 was unnecessary but, frankly, I don’t think that matters. I don’t think it ever matters because while some people might not like it, we are always going to get sequels, prequels and reboots for as long as the cinema industry continues to exist. All we can hope for is that we enjoy them, and in the case of Toy Story 4, I did. It still made me feel emotions, and I would absolutely watch it again. As far as I’m concerned, that’s good enough to exist.
In 2004, PIXAR Studios released what I consider to be the best representation of the Fantastic 4 ever put on the big screen with The Incredibles. At the time, it was probably my favourite of the 6 films they had released and I was ecstatic to hear that the story was to be continued as a video game. Having played the video game adaptation of The Incredibles on my home computer I was soon playing it’s sequel on the Playstation 2 – The Incredibles: Rise of the Underminer. The game allows you to switch between controlling Mr Incredible and Frozone as you make your way through the Underminer’s tunnels and into his lair where you must defeat him. It’s been a long time since I played it, but I remember it being a heck of a lot of fun, primarily because I thought that Frozone was just the coolest. For years, this would be the only sequel that The Incredibles got until it was finally announced that an official movie sequel was underway in 2014, to be released in 2018. It was not an adaptation of Rise of the Underminer.
The plot follows Helen Parr (aka Elastigirl) as she is approached by a business tycoon who wants to help make superheroes legal again. As she attempts to defeat a new supervillain called The Screenslaver, her husband Bob (aka Mr Incredible) faces the challenge of being a stay-at-home dad with his teenage daughter Violet, son Dash and baby Jack-Jack. All of this is made infinitely more difficult when Jack-Jack begins to develop a seemingly endless number of superpowers. These new superpowers were a massive selling point for Incredibles 2, even being the first piece of completed animation shown to the general public, so you might think that it forms the bulk of the plot but this isn’t really the case. I find that the issues facing Bob and Helen balance pretty equally.
Of course, this is not the first time that Jack-Jacks powers have been seen on screen as he used several of them to escape Syndrome’s grasp in The Incredibles and to torment Kari the babysitter in the short film Jack-Jack Attack. However he has gained more powers since the original 13 and this is the first time that anybody apart from Syndrome and Kari have known about them so this is where the real fun begins. On top of this, Violet is gearing up for her first date with Tony Rydinger who, having seen her in her supersuit without a mask, has had her erased from his mind under Bob’s orders. Violet has always been my favourite member of the Parr family and seeing her rebel against them in a way that I never would have felt comfortable enough doing is kind of cathartic. On top of that is Dash’s constant issues with his mathematics homework. Ever since I was in Secondary Education, I have had issues with how the education system is structured and how lessons are taught. It is incredibly rigid and doesn’t really allow for outside-the-box thinking and, in the case of maths, will punish you for reason a conclusion in the wrong way. I feel Bob’s frustration when he exclaims “math is math” because he’s right. The main point here is that these issues (dating, maths, baby) are regular and relatable issues which makes us sympathise with them more. They aren’t a Superhero Family, they’re a family who just so happen to have superpowers.
Meanwhile, Helen’s mission to stop The Screenslaver and to help make superheroes legal again is excellently crafted. I think that the comparisons to The Fantastic 4 are a given but I feel like this sequel more closely resembles the original X-Men film trilogy. The X-Men comics had always been a metaphor for oppressed minorities but the films in particular leaned more specifically into the struggles of the LGBT+ Community. Whilst Incredibles 2 is a children’s film, it refuses to shy away from an important conversation about laws and policies and what to do if they prove to be unjust. The solution seems to be the formulation of new laws but in order to prove that would be worthwhile, the previous laws need to be broken. Society is constantly changing and, provided it is becoming more accepting of people who have been considered “different”, that’s probably a good thing. We, as a society, need to acknowledge when we have done wrong and we need to be open to healthy, positive, inclusive change. That should not be a controversial statement.
On the topic of the X-Men, I think it’s worth noting the difference between the superhero movies of yore and those of today. 2004 and 2018 and two very different years when it comes to superhero films and the public perception of them which means that The Incredibles and Incredibles 2 end up feeling tonally different from each other. In 2004, these films were a light-hearted affair that wasn’t taken seriously as a genre by the public at large. Titles like Daredevil and Catwoman had seemingly demonstrated that superhero films were a lost cause and, apart from franchises like X-Men and Spider-Man, were worth moving on from. 4 years later Iron Man launched what would become the juggernaut that is the Marvel Cinematic Universe, not only proving that this genre was worth paying attention to, but that it could be hugely profitable. This led to 2018, when Avengers: Infinity War hit our screens and quickly became the highest grossing film of all time. Both Incredibles films are reflective of these different eras with the first being fun, with a punchy score and vibrant colour palette while the second was more of an action blockbuster with a slightly muted palette. Had the first instalment not existed, I wonder if the second would have had Michael Giacchino’s brass score which evokes the Golden Age of superheroes and Richard Donner’s Superman.
There is no denying that Incredibles 2 occupies a different space than it’s predecessor. Superhero films have become a respected, and profitable, genre in their own right but I don’t feel like any of the original’s fun has been lost in this sequel. I don’t want to say this film feels more mature but it is different in much the same way that Superman: The Movie and Man of Steel are different, without losing what made The Incredibles so good. I said at the top of this piece that The Incredibles was, at the time, my favourite of all the PIXAR films and that hasn’t really changed. I still adore that film and I still love this genre, although the old ones really do excite me in a more child-like manner. At that time, Disney sequels were released directly to video but films like Incredibles 2 kind of make me glad that PIXAR never has. This deserved to be on the big screen.
Shakesqueer 