The toys are mistakenly delivered to a day-care center instead of the attic right before Andy leaves for college, and it's up to Woody to convince the other toys that they weren't abandoned and to return home.
IMDb sits down with Ellen DeGeneres and her Finding Dory fishmates to find out what fans are most likely to remember about the sequel 13 years from now, even if Dory herself won't remember a thing.
In order to power the city, monsters have to scare children so that they scream. However, the children are toxic to the monsters, and after a child gets through, two monsters realize things may not be what they think.
Lion cub and future king Simba searches for his identity. His eagerness to please others and penchant for testing his boundaries sometimes gets him into trouble.
Directors:
Roger Allers,
Rob Minkoff
Stars:
Matthew Broderick,
Jeremy Irons,
James Earl Jones
A hapless young Viking who aspires to hunt dragons, becomes the unlikely friend of a young dragon himself, and learns there may be more to the creatures than he assumed.
Directors:
Dean DeBlois,
Chris Sanders
Stars:
Jay Baruchel,
Gerard Butler,
Christopher Mintz-Plasse
Woody, Buzz and the whole gang are back. As their owner Andy prepares to depart for college, his loyal toys find themselves in daycare where untamed tots with their sticky little fingers do not play nice. So, it's all for one and one for all as they join Barbie's counterpart Ken, a thespian hedgehog named Mr. Pricklepants and a pink, strawberry-scented teddy bear called Lots-o'-Huggin' Bear to plan their great escape. Written by
Walt Disney Studios
In the scene where Barbie goes through Ken's clothing collection, she pulls out a Nehru Jacket and asks, "This is from what, 1967?" The famous James Bond villain, Ernst Stavro Blofeld, whom popularized the Nehru style in film culture, made his first formal appearance in You Only Live Twice (1967). Additionally, the shirt resembles the same style worn by The Beatles on the cover of the 'Sgt. Pepper's Lonely Hearts Club Band' album, which was also released in 1967. See more »
Goofs
When Woody is taking away by Bonnie, she puts him in her backpack and Woody is unable to open the zipper to escape. When Bonnie brings Woody to Sunnyside, Woody unzips her backpack fine. However Woody doesn't try to unzip her backpack in the film. See more »
Quotes
[first lines]
[Mr. Potato Head, portraying One-Eyed Bart, jumps out of a train while carrying money sacks]
Mr. Potato Head:
[laughs evily]
Ah, ha ha ha! Money, money, money!
[Woody lassoes a rope to grab the money from Mr. Potato Head's hands, then trips him]
Woody:
You've got a date with justice, One-Eyed Bart!
Mr. Potato Head:
Too bad, Sheriff! I'm a married man!
[Mrs. Potato Head jumps onto the train, giving karate yells]
Woody:
One-Eyed Betty?
[...] See more »
Crazy Credits
At the very end of the credits, "Zu-Zu (Ken's theme)" plays as the Pixar logo finishes. See more »
Dream Weaver
Written and Performed by Gary Wright
Courtesy of Warner Bros. Records Inc.
By Arrangement with Warner Music Group Film & TV Licensing See more »
Since I felt none of the other reviews here do the movie justice, I became compelled to write my own. It is the most inspired film I have ever encountered.
The creators of Toy Story 3 have an imagination that is unparalleled. I cannot begin to compare any of the other animated movies that I have ever seen to it. It is a fantasy in an unconventional sense: aside from the talking toys, the environment and settings are typical; commonplace. Yet, the Pixar Team manages to cram every last drop of energy into the incredibly clever story and inventive plot devices out of just common household objects. The animation is so brilliant that it captures shading, lighting, and textures that have yet to be seen on film.
Then, Toy Story 3 becomes a beautiful elaboration on the first two, with very clever character development. Its maturity of relationships is concise but witty: Woody, the wise sheriff, leading the other toys with courage and finesse; a spaceman winning the love of a cowgirl; the loyalty of the dog, slinky; the grumpy married potato and his devoted wife; the superficial relationship of Ken and Barbie; the broken spirit of a lost teddy bear. At the same time, Pixar uses a metaphor that is so strong that it drives the audience to love these characters with all of their hearts. It is a similar emotional complex to a happy puppy who is brought into a home and has nothing on its mind but playing with its youthful owners. But these toys never age, and as its owners, once in their playful youths, leave for work and college, these toys still know nothing more than their youth and happiness of living to one day play again. As you leave for work every morning, your dog doesn't know where you go. And every day, he does nothing more than pray that you come back to see him, every day waiting for you to bring out the ball again for a game of fetch.
Finally comes Pixar's ability to integrate so many emotions - fear, love, action, and comedy, among others - with each having so much vigor in its own right, that the movie becomes a roller coaster of animation and adventure, wound together by the constant movement of setting and storyline, always keeping the audience guessing on what might happen next. It is a brilliant tale; a perfect movie for children and adults alike. I cannot wait to see it again.
109 of 138 people found this review helpful.
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Since I felt none of the other reviews here do the movie justice, I became compelled to write my own. It is the most inspired film I have ever encountered.
The creators of Toy Story 3 have an imagination that is unparalleled. I cannot begin to compare any of the other animated movies that I have ever seen to it. It is a fantasy in an unconventional sense: aside from the talking toys, the environment and settings are typical; commonplace. Yet, the Pixar Team manages to cram every last drop of energy into the incredibly clever story and inventive plot devices out of just common household objects. The animation is so brilliant that it captures shading, lighting, and textures that have yet to be seen on film.
Then, Toy Story 3 becomes a beautiful elaboration on the first two, with very clever character development. Its maturity of relationships is concise but witty: Woody, the wise sheriff, leading the other toys with courage and finesse; a spaceman winning the love of a cowgirl; the loyalty of the dog, slinky; the grumpy married potato and his devoted wife; the superficial relationship of Ken and Barbie; the broken spirit of a lost teddy bear. At the same time, Pixar uses a metaphor that is so strong that it drives the audience to love these characters with all of their hearts. It is a similar emotional complex to a happy puppy who is brought into a home and has nothing on its mind but playing with its youthful owners. But these toys never age, and as its owners, once in their playful youths, leave for work and college, these toys still know nothing more than their youth and happiness of living to one day play again. As you leave for work every morning, your dog doesn't know where you go. And every day, he does nothing more than pray that you come back to see him, every day waiting for you to bring out the ball again for a game of fetch.
Finally comes Pixar's ability to integrate so many emotions - fear, love, action, and comedy, among others - with each having so much vigor in its own right, that the movie becomes a roller coaster of animation and adventure, wound together by the constant movement of setting and storyline, always keeping the audience guessing on what might happen next. It is a brilliant tale; a perfect movie for children and adults alike. I cannot wait to see it again.