Movie Reviews: Inception and Toy Story 3

Jul 14 2010 By Roz Laws and Graham Young

TOY STORY 3 (U) * * * * *
Cert U, 105 mins
The Toy Story franchise is one of those incredibly rare things in cinema – a series of films that just keep getting better. The law of diminishing returns usually applies to sequels. But Toy Story 2 was an improvement on the first film and now, 10 years later, comes the best one yet.

For a start, it’s in 3D, although it can be enjoyed almost as much in 2D.

What makes Toy Story 3 so special is its witty script and, most importantly, its emotional heart.

We’ve come to really love these characters and I don’t mind admitting to tearing up a little at the poignant final scenes.

The toys’ owner, Andy, is now 17 and about to leave for college. The toys have to come to terms with the fact he’s never going to play with them again.

“We’re closing up shop,” says dejected but resigned cowboy Woody (Tom Hanks).

Andy boxes them up to be put in the attic, but a mistake sees them nearly thrown away – then donated to Sunnyside Day Care.

At first, this looks like heaven. The other toys are thrilled to meet them, including the seemingly-nice pink teddy Lotso (Ned Beatty).

Barbie is thrilled to meet Ken (Michael Keaton) and his huge wardrobe of clothes.

Woody, though, thinks his place is still with Andy and leaves his friends to their new home.

But appearances are deceptive. As huggable as he looks, Lotso is actually a monster who rules Sunnyside with a rod of iron. He forces the new toys to become the playthings of brutal toddlers, then locks them up at night.

Woody, meanwhile, is taken home by little girl Bonnie, meeting her toys like method actor hedgehog Mr Pricklepants (Timothy Dalton).

But when he learns from them what horrors really lie at Sunnyside, he loyally goes back to break them out of the prison.

There are lots of hilarious moments along the way, especially when Ken models his outfits and when Buzz Lightyear (Tim Allen) is turned to Spanish mode and becomes a flamenco-dancing Latino lover.

You’ve got to admire any film that uses the phrase ‘death by monkeys’ .

Toy Story 3 is clever, inventive and deeply moving, a fabulous film which can be enjoyed by all ages – and you can’t say that about many movies.   RL

INCEPTION * * * * *
Cert 12A, 148 mins
Let’s plant some little thoughts inside your head. Leonardo DiCaprio’s new thriller is as good as live action cinema gets... and you’re about to have some very deep dreams to prove it.

Perhaps you’ll foresee Leo receiving a best actor Oscar next spring.

Not just for this masterclass, but for having been in front of the pack for more than a decade in terms of profile, consistency and delivery.

To give a performance this good in a film so complex in terms of its concept and physical execution requires concentration, dedication and talent of the highest order.

And he’s still only 35!

Along with Sam Mendes, Paul Greengrass, Stephen Daldry and Joe Wright, Inception’s Christopher Nolan is part of an exciting new wave of amazing British directors.

But the precocious Nolan – who doesn’t even turn 40 until the end of this month – has the advantage of making megabucks and writing his own scripts, too.

The result with Inception is a mesmerising, full-value IMAX ‘experience’, heightened by the way Hans Zimmer’s extraordinary chair-shaking score also achieves the all-too-rare feat of actually matching what’s on screen throughout.

In a nutshell, Dom Cobb (DiCaprio) has the ability to infiltrate people’s dreams for commercial reasons.

What, though, has happened to Mal (Marion Cotillard), the mother of his two children? And can dream architect Ariadne (Ellen Page) really help with his latest mission?

Inception might take another couple of viewings to try to get deep inside its heady premise, but what mind-bending fun that would be.

Some of the stunts make up for the latest loss of James Bond, while the street-lifting effects and real weightlessness fight scenes make the likes of 2012 look old hat.

Old stagers from Ken Watanabe to Tom Berenger, Pete Postlethwaite and Michael Caine add dramatic prowess, especially as they are all used sensibly and not just for the sake of it.

For once, Inception feels like a film that a director has been allowed to make without interference – a rarity at any level never mind on a blockbuster of this scale.

The brilliant cinematography is by Nolan’s regular collaborator Wally Pfister, who has been behind the camera on everything he’s made from Memento to Insomnia, Batman Begins, The Prestige and The Dark Knight.

The pair are now a formidable double act. And, like Leo, deserve to be sharing Hollywood’s highest stage.    GY