Film Review - Toy Story 3

The third instalment in the Toy Story series is as poignant and meaningful an animated film as you’re likely to see. Let’s hope it’s the last, as it rounds off nicely what has been a fascinating journey for all ages.

Andy is going off to college and so the toys, already out of use for the past few years, now face their destiny in the attic, with only Woody (Tom Hanks) getting to accompany Andy to the next stage of his life. But as luck would have it, they get mistakenly packed in a box with other toys to get donated to a nearby Day Care Centre - the optimistically named ‘Sunnyside’. And optimistic is how most of the toys feel on their arrival at the centre, until they discover the true evil nature of the maligned bear Lots-o (voiced by Ned Beatty), the ringleader of a gang of evil toys that includes the very metrosexual - and quite funny – Ken (Michael Keaton).

In the eleven years since the previous Toy Story movie, animation technology has of course advanced considerably and this is obvious right from the beginning of the new film. I chose to see it in 3D, which didn’t really add anything to the quality of the action. However, from the opening sequence right through to the harrowing incinerator scene, we are exposed to animation far more sophisticated than in any previous Toy Story film. But this improvement is not at its most noticeable when it comes to explosions and intense action. When the characters need to show real human emotion and when the script is at its most tender is when the animation really shows its pedigree. And director Lee Unkrich has not been afraid to let the story shine through the visual effects.

The story, I think, has a much deeper implication than just a group of toys feeling let down after being thrown away by their owner. John Lasseter, creator and executive producer of the trilogy, was interviewed after Toy Story 2 came out and explained that Jessie’s song about her previous owner was actually an ode to how his daughter had gotten older and had eventually outgrown him - that she was too old to play with him now. It seems to me that this idea has further been explored in the third part of the series with the Day Care Centre perhaps representing a real life Old People’s Home. After all, this film is written by adults, and in this case I think mostly for adults.

Another reason why I believe this instalment was aimed more at adults is because it just isn’t as funny as the previous two films, in my opinion. It is of course very funny, but just not as silly. Characters like Ken and the delight that is Spanish Buzz provide huge laughs but the film is darker in general there are some characters that turned out to be very evil, far more so than say Andy’s neighbour Sid from the first Toy Story. But what it acutely lacked in humour it more than made up for in sensitivity and maturity. The aforementioned incinerator scene is some of the most heart-rending cinema I have ever been exposed to, and the fact that I can be made to feel that way by the eyes of a cartoon cowboy is again credit to the incredible animation.

All in all, I believe this film is a truly conclusive finale to the Toy Story series, with even more memorable characters to add to the already comprehensive roster. Perhaps one could say it takes advantage once again of the same plot basis of the other films – the search and rescue idea – but if it ain’t broke, don’t fix it and all that. It has action, it has humour, it has drama. Most importantly, it is thought-provoking. Just try not to get any tears on your 3D glasses.

Aaron Devine

Film Review - A Prophet

Like staring down the barrel of a loaded gun. Through Jacques Audiard’s trembling camera lens, the dread and fearful anticipation embedded in Tahar Rahim’s eyes is obvious and we begin to comprehend that this is what facing six years in jail must feel like. Rahim plays Malik El Djebena, an illiterate French Arab handed a six-year prison sentence for assaulting a police officer. At 19 years old, perhaps he isn’t yet ready for the rough and ready world ‘inside’.

On his first venture into the prison yard it is clear how vulnerable the Muslim teenager is going to be after immediately getting into a scuffle. This is noticed by dangerous Corsican gang leader César Luciani (Niels Arestrup) who, apprehensive of the growing Muslim population within the prison, wants to stamp his authority (‘Before we ruled the yard...soon they’ll bring out the rugs’). As such, he makes Malik a daunting yet interesting proposition – to kill Reyeb, a gay Muslim prisoner in exchange for protection from his gang. It seems, however, that Malik has no choice in the matter as Luciani’s words echo in his ears: ‘If you don’t kill him, I kill you’. As he tries to escape his predicament by alerting the prison warden, it becomes clear to Malik how far and high Luciani’s influence goes.

After he clumsily and brutally disposes of Reyeb, Malik is haunted by his ghost, in his dreams and in reality, but he turns out to be some kind of guardian angel, making him aware of events that are happening in the near future - most notably through a bizarre car crash scene that at that point in the film is intriguingly unrelated to the film’s storyline. Having said that, this idea I feel is not explored enough in my opinion, which is a pity as it to some extent nullifies the significance of the title of the film and Malik’s role as ‘a prophet’.

One of the main themes in this film is the changing relationship between Malik and Luciani and this story is expertly told by director Jacques Audiard. He has proven himself to be a real powerhouse of French cinema after the critical success of his last film ‘The Beat That My Heart Skipped’ and has been described (quite insultingly I think) as the French Guy Ritchie. Special mention must also be given to the editor of the film; Juliette Welfling, who has weaved this film together making it watchable with four or five different languages going on at once in some cases.

As well as observing the relationship between the central characters change, we see Malik himself grow drastically. At the beginning of the film, he is a mere gopher for the rest of the gang, collecting the papers, making the coffee. But, due to a change in the political climate in Corsica, most of the gang are released, leaving Luciani alone with Malik as his right hand man. As the film progresses, Malik learns to read and write and takes on more and more responsibility while developing his skills as a criminal.

What is outstanding about this film is that it is not your typical slick gangster movie. It is graphic and brutal. It is dimly lit and aesthetically dull, reflecting the monotony and tediousness of prison life. But its authenticity makes it a truly rewarding piece of work. For example, Malik is not an effortless killer. He makes a meal of some tasks he is given – including his first one – as you would expect from a novice gangster. So as brilliantly acted and exciting as this film is, it is above all truthful. Speaking of the acting, however, the central pairing of Arestrup and Rahim provides us with two arresting performances. Relative newcomer Rahim is equally convincing first as a naïve and hapless teenager as well as towards the end of the film when he grows into a cold, calculating criminal. His performance is topped only by the onscreen display by Niels Arestrup. His character’s gradual demise is manifested flawlessly as he loses his grip and his mind. The sense of betrayal he surely feels is portrayed sublimely in the final scene which makes for a mesmerising climax to what is a captivating film. Remarkable.

Aaron Devine

Tip for the week:

Check out 'Dead Man's Shoes'. Directed by Shane Meadows and starring Paddy Considine. Dark, moving and thought-provoking. Think Ken Loach meets Guy Ritchie. Excellent stuff.