It’s been a good nine years since Toy Story’s third instalment had been released. A film that was once universally regarded to be the definitive and beautifully bittersweet capstone of the genre-defining Toy Story films. But, knowing Disney’s habit of capitalising on its more nostalgic properties as of late, the release of a fourth instalment to this beloved franchise was, more or less, to be expected, albeit with relative scepticism of its quality compared to its predecessors. With a new director, Josh Cooley at the helm along with writers leaving the project due to ‘creative differences’, and an almost 2-year delay of the film due to other projects, such as The Incredibles 2, audiences were nervous that Toy Story 4 was doomed to fall short of their expectations set by previous instalments. After all, what could a new instalment possibly add after such a final and near-perfect conclusion? Did we really need to know what happened to Woody and Buzz next?Read More
When I’d first discovered that the roster for ‘Best Animation’ at the Oscars had included some rather sub-par Hollywood-based productions such as Dreamworks’ ‘Boss Baby’ and Blue Sky’s ‘Ferdinand’ that were competing alongside some visually innovative and even ground-breaking international releases such as the spectacular UK-produced ‘Loving Vincent’, along with the latest Cartoon Saloon-production: ‘The Breadwinner’, I was somewhat disillusioned.