Maybe it’s that Larry the Cable Guy’s Mater is the Jar Jar Binks of animated film. Maybe it’s my general aversion to Nascar. Unless, that is, they had a douchebag older brother in the family who spent most of his childhood speaking in funny accents and hoarding his piggy-bank money to buy his first hot rod. Conversely, the effect of Cars and its infinitely worse sequel, toons about dudes-as-cars not quite coping with their enormous egos and their contentious bromances, is entirely craven in the way it humorlessly, unimaginatively, and uncritically enshrines the sort of capitalist-driven desires that Pixar’s youngest target audience is unable to relate to. These films, with scant manipulation and much visual and comic invention, thrive on giving toys a conscience and imagining what adventures they have when we turn our backs to them. ![]() They appeal to anyone who’s ever cared about a toy-one they outgrew, gave away, or painfully left behind somewhere. The effect of the Toy Story films is practically primal. Keith WatsonĮditor’s Note: This articale was originally published on June 21, 2013. On the occasion of its release, here’s a ranking of every Pixar feature. ![]() The wisecracking MCU-style banter and prominent Black and lesbian representation of the film may separate it from a blockbuster that would’ve existed in 1995, but it still manages to reproduce some of the worst excesses of the tent poles of yore, namely a more-is-always-more approach to action. Such is the case with Lightyear, which opens with on-screen text informing us that what we’re about to see is the film that captured a little boy named Andy’s affection and spawned the Buzz Lightyear action figure that he was given for his birthday in 1995. ![]() We’ve been living so long in a realm of perpetual nostalgia, of sequels, legacyquels, reboots, and reimaginings that it was perhaps only a matter of time before Hollywood tried to reverse engineer a nostalgia-ready blockbuster.
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