A review of the theatrical release of Disney flick "Toy Story 4" aptly notes that "Toy Story 3" ends the adventures of Woody (Tom Hanks) et al on a perfect note that should have been the end of the story. This evokes strong thoughts of "Crystal Skull" being such a huge (and inconsistent) follow-up to the sublime "Last Crusade" in the Jones trilogy. Both "4" and "Skull" make one yearn for the days when big-screen tributes would consist of bigger, bolder, re-releases of the classics.
One of a two related general notes is that the once groundbreaking but now mature Pixar technology does not hold the same thrill as it does as to "Toy Story" (1995), which is the first Pixar feature film. Although "4" looks spectacular in 4K, it seems that even folks who could not color within the boundaries or draw a straight line but now can suss out how to operate an Apple watch can learn the Pixar system and do as well as (if not better than) the "pros."
The next related note is that a combination of having 4k at home and Disney sinking to the level of merely shamelessly rehashing old ideas has led to no longer seeing Disney films in theaters; it does not take long for 4K sets to hit the $15 mark, which is not much more than the price of a matinee ticket.
One of the biggest narrative flaws of "4" is that it quickly abandons the fun (tinged with some darkness in "3") of the original trilogy. Speaking from the perspective of someone who largely shares the views of W.C, Fields regarding kids (but not animals), "4" preying on the deepest fears of children is highly disturbing. This is aside from the creepy aspect of "Story" lore that the toys play dead whenever a meat suit of any age is around.
The cold open of "4" lulls viewers into a false sense of security as to both quality and tone. It is a flashback to a simpler and kinder time nine years ago. Now college man Andy is a happy everykid, and his friends with active secret lives are a large part of his life.
Sheriff Woody leads a harrowing covert mission to rescue an RC car that is left out in the rain; the thoughts regarding "It" are moderate, Bo Peep plays a pivotal role just ahead of being boxed up and shipped out. Woody pursuing this soulmate provides foreshadowing of stranger things to come.
We then move to the present; the Freudian nightmare begins with a superficial room cleaning leading to an angsty Team Woody being locked in the closet of new owner Bonnie, The symbolism is apt as to Woody and his rival for the affection of Andy turned best buddy Buzz Lightyear. The horror continues when all but Woody, who aptly remains trapped in the closet, make a great escape.
Woody soon takes (and mostly retains) center stage when he stows away in the backpack of Molly to support her during her kindergarten orientation; the activities of that day lead to Molly making new kid on the block Forky. Forky is a spork with googly eyes, a pipe cleaner for arms, and Popsicle stick feet.
Forky being a dim-witted freak is perfectly fine, and the other toys welcoming him into the tribe sends a very positive message. The problems with this character extend well beyond his intense suicidal tendencies in the form of frequent aggressive attempts to throw himself into the trash.
Suspension of disbelief allows accepting that toys that at most are occasionally brought to school can articulately think and talk. The fact that they have ears allows accepting that they can hear. However, Forky can speak within seconds of his "birth" and does not have ears.
A more annoying issue relates to big brother figure Woody explaining to Forky that the latter is a toy (rather than trash) because Bonnie writes her name on his feet. The first flaw in this logic is that the "Story" kids and their real-life counterparts do not "mark their territory" as to all of their playthings. There is no personal memory of ever having done that.
The even more annoying aspect of this is that, per Woody, the food that I would bring to work would come alive in the refrigerator. This is not to mention the beer that I would put in the counselors' refrigerator when spending college-era summers at a camp. The "Story" logic provides that I drank my friends and ultimately subjected them to an even worse fate.
The illogical plotting fully take place when Bonnie takes her toys on a RV road-trip; Forky does not suffer any harm on jumping out of the window of a vehicle that is going at least 45 mph. The same is true as to Woody, who goes after his friend. Woody stating that he easily can catch up with the group when they stop 5.3 miles down the road builds on this frustration as to the lack of logic.
A less annoying aspect of this is the bigger plot point that the "good" toys repeatedly go to great lengths to prevent Molly from losing current favorite toy Forky. Once more returning to real life, I do not recall any soul-scarring trauma on getting separated from favorite toys. The angst of Molly relates to Millennials and the next generation always getting participation ribbons and having every whim indulged.
Things turn truly dark on Woody and Forky taking a detour on almost reaching their destination; Woody finding evidence of Bo Peep prompts him to drag Forky into a dark antique shop. This leads to a fateful (and potential fatal) encounter with evil queen of the shop Gaby Gaby and her even more creepy ventriloquist dummy minions.
The plot thickening agent at this point is that Gaby essentially wants to harvest a kidney of Woody in the form of replacing her defective voice box with his functional one. The rest of the story is that this plaything that makes Annabelle look like Raggedy Ann thinks that an ability to speak when her string is pulled will prompt someone to want to take her home.
Woody gets away at the cost of Forky becoming a hostage; this leads to a standard "Story" development of the toys embarking on a perilous mission.
The most disturbing event as to the ensuing lack of hilarity would be a major spoiler that evokes thoughts of a #MeToo villain. The toys subsequently putting themselves at great risk solely to help psychopath Gabby is slightly less upsetting but makes absolutely no sense.
Another bothersome aspect of trying to find Gabby a good home reflects the same nth degree of corporate greed of Disney under Czar Robert Iger as does the film itself.
Team Pixar clearly is trying to guilt parents into buying their little darlings every toy that they want; the idea is that the Forky (or the Sven the reindeer, etc.) on the shelf at the Disney store will be miserable until a child brings it home to love. Again, I still like toys and collectibles (and have shopped at Disney World stores) but have not blinked an eye as to leaving lion cub Simba collecting dust under harsh fluorescent bulbs.
The bottom line regarding all this is that the cult of Disney is so pervasive that the above observations will not influence many people; however, these musings reflect that this childhood favorite studio is loosing its grip on those of us smart and insightful enough to see through the mouses**t.