Toy Story 5: Absolutely perfect

Toy Story 5 (2026) • View trailer

Five stars (out of five); rated PG, for mild rude humor

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 6.21.26

The Toy Story franchise has been a marvel since the first film’s 1995 debut.

 

This fifth entry is the best thus far: a bold statement, considering the quality, imagination, voice talent, carefully sculpted characters, sentimentality and heart that long have been this series’ hallmark.

 

When an angry Jessie insists that newcomer Lilypad is useless with respect to helping
Bonnie make new friends, the quick-thinking tablet briskly signs up the little girl with
three schoolmates ... in a chat room.

Ah, but this one adds an oh-so-timely new element: topicality.

Andrew Stanton and McKenna Harris, sharing writing and directing chores, have challenged these beloved characters with an existential threat: impending irrelevance, due to the competitive, soul-sucking arrival of (gasp, shudder) screens.

 

Woody, Buzz, Jessie and all the other toys have long cherished their crucial role in helping young owners nurture their imaginations, while also shaping their social skills. When one owner successfully “grows up,” the toys are passed along to another, as when college-bound Andy lovingly introduced his toy friends to young Bonnie, at the end of Toy Story 3.

 

But the increasingly ubiquitous tablets threaten to break that chain, which our heroes aren’t about to tolerate. They’ve no desire to mimic Puff the Magic Dragon, who “sadly slipped into his cave.”

 

Although this story gives everybody plenty of screen time, Jessie is the focus. Cusack deftly conveys this character’s huge emotional arc.

 

That said, this film opens on a disorienting and unexpected note. Buzz Lightyear (voiced by Tim Allen) wakens in a strange place, during a dark and stormy night. Waves crash on a debris-strewn beach. He spots a huge, damaged container several yards away, apparently having fallen off a passing ship. 

 

Peering inside, he spots 49 more Buzz Lightyears. He activates them; they assemble en masse to scout the island. Sharp-eyed viewers might notice a fleeting glimpse of their spacesuit decals: “Hi-Tech Edition.”

 

(Hold that thought.)

 

Uncertain of their location, unsure of what to do, they equate a blazing star in the nighttime sky with their venerable “Star Command” ... and, hastily assembling a raft, set off to reach it.

 

Meanwhile...

 

Bonnie (Scarlett Spears) happily plays with her toys, putting them through adventures that (for the first time) we “see” through her imaginative eyes. The visual style of these playtime sequences are wholly different: a pastel, tactile, chalk-drawing technique that evokes animated child’s drawings. The impact is sweet, vibrant and mirthfully silly.

 

This gaggle of toys, led by Jessie and Buzz, includes her faithful horse Bullseye, Rex (Wallace Shawn), Mr. Potato Head (Jeff Bergman), Slinky Dog (Blake Clark), Forky (Tony Hale) and many other familiar faces.

 

Woody (Tom Hanks), Bo Peep (Annie Potts) and Combat Carl (Ernie Hudson) are elsewhere at the moment.

 

A House of Dynamite: A chilling nail-biter

A House of Dynamite (2025) • View trailer

Five stars (out of five). Rated R, for profanity and dramatic intensity

Available via: Netflix

By Derrick Bang • Published in The Davis Enterprise, 11.02.25

This is our generation’s Dr. Strangelove ... but it’s deadly serious.

 

Director Kathryn Bigelow is right at home with intense, white-knuckle geo-political thrillers, having kept us glued to seats with 2008’s The Hurt Locker and 2012’s Zero  Dark Thirty. Even so, I suspect most viewers won’t be prepared for the deeply unsettling events of this disturbingly probable scenario.

 

Even as matters grow increasingly dire, and the atmosphere in the White House Situation
Room becomes more tense, Capt. Olivia Walker (Rebecca Ferguson) calmly
orchestrates and oversees all the necessary procedures.

As some of the film’s posters warn, “Not if ... when.”

Noah Oppenheim’s clever script is divided into three chapters, each of which concludes at a screaming point ... whereupon the clock rolls back, and we witness the same events through the eyes of different key players: folks at the other end of telephones, in situation rooms elsewhere, scrambling to replace somebody missing at a meeting. In each case, the second and third go-rounds expand upon details, amplify the tension, and minimize reasonable options.

 

The time is a reasonable extrapolation of our near future. Despite inroads made back in 1969, thanks to the Strategic Arms Limitations Talks and subsequent Anti-Ballistic Missile Treaty, nuclear proliferation once again has ramped up (as it already is, in our real world).

 

Part One, titled “Inclination Is Flattening,” focuses primarily on two sets of characters: the personnel at the White House Situation Room, supervised on this particular morning by Capt. Olivia Walker (Rebecca Ferguson); and the 49th Missile Defense Battalion at Fort Greely, Alaska, under the command of Maj. Daniel Gonzalez (Anthony Ramos).

 

Walker is informed of potentially troublesome recent events, notably an uptick in chatter between Iran and its proxies, and uncharacteristic silence from the DRPK (North Korea), following a ballistic missile test.

 

Then, suddenly, an sea-based early warning X-band radar station detects an unidentified intercontinental ballistic missile (ICBM) launch: not at point of origin — as should have been the case, thanks to orbiting Defense Support Program (DSP) satellites — but in mid-flight over the northwest Pacific Ocean. The initial assumption is that it’s simply another of the many DRPK test flights that’ll terminate in the Sea of Japan...

 

...but then the ICBM’s trajectory enters low orbit, with an updated strike target of Chicago.

 

In 19 minutes.

 

Hastily assembled phone and videoconferencing is established between the Situation Room, the Pentagon, various armed forces commands, and the President. Secretary of Defense Reid Baker (Jared Harris) initiates the continuity of governance protocol, which alerts armed soldiers to scoop up numerous “designated evacuees,” — willing or not — including Federal Emergency Management Agency (FEMA) official Cathy Rogers (Moses Ingram).

 

Forced calm prevails, thanks to Walker’s steady hand at the tiller; we’re prepared for this sort of thing. Gonzalez and his team launch a pair of ground-based interceptors (GBIs), specifically designed to knock ICBMs out of the sky.

 

The countdown advances ... and advances...

Past Lives: What might have been?

Past Lives (2023) • View trailer

Four stars (out of five). Rated PG-13, and too harshly, for fleeting profanity

Available via: Amazon Prime and other streaming services

By Derrick Bang • Published in The Davis Enterprise, 10.6.23

All of us have paths not taken — mostly insignificant, a few consequential — that prompt occasional curiosity and speculation.

 

But some folks obsess over an emotionally weighty What If, to the point that it interferes with their ability to focus on the alternative happiness that has been achieved.

 

What might they be thinking? Nora (Greta Lee), flanked by Hae Sung (Teo Yoo, left)
and Arthur (John Magaro) contemplates the life choices that have led to this moment.

Writer/director Celine Song’s gentle drama opens on a provocative tableau: three people — two men, with a woman between them — sitting quietly at one end of a bar. Two are Korean, one American. Nobody says anything; the woman’s expression changes — not quite readably — as she glances from one companion to the other. Flirty? Wary? Satisfied? Indecisive?

We hear an off-camera couple try to suss out the dynamic (a game we’ve all played, while people-watching). Who is the woman with? Are the Koreans siblings? Are the guys with each other? Is somebody being dumped?

 

Therein lies a tale…

 

We jump back 24 years, to Seoul, and meet 12-year-old chums Na Young (Moon Seung-ah) and Hae Sung (Leem Seung-min), as they head home after a day at school. She’s in tears, having come in second to Hae Sung, on a class paper. He turns this back on her, pointing out that he usually has come in second behind her, and besides; shouldn’t she be happy for his success?

 

After all, they’re inseparable besties. 

 

Even so, she aspires to greatness: She wants to win a Nobel Prize.

 

Sadly, events are about to separate them. Nora’s parents are emigrating the family to New York. Na Young will be given a new “American” name — Nora — and her sister will become Michelle.

 

But before this occurs, Na Young and Hae Sung’s mothers arrange for the two to have a “date” … perhaps more “play date,” but — as cinematographer Shabier Kirchner’s playful tableaus reveal — love clearly is in the air, at a 12-year-old level that’s deeper than a simple crush.

 

Their final parting is telling, due to the way Song and Kirchner frame the moment: After a perfunctory “Bye” from Hae Sung, Na Young charges up the steep street to her home, without looking back; he watches for a moment, before sadly heading along the level side street to his home.

 

Ambition vs. devotion.