nathan
July 1, 2010, 7:33am
#101
AWESOME! I was hoping it would get back up to that, that’s the highest you can get with bad reviews.
Hey. uh, here’s a review from my local news station. Makes me wish all reviewers thought like this guy with this movie.
Watch the video on the page. wfaa.com/news/entertainment/ … 84619.html
This guy reviews Armond White’s review of TS3 : slantmagazine.com/house/2010 … ta-review/
Interesting, also love your sig XD.
Interesting article. As the author proves, it’s more fun to pick holes in a bad review than to take its message at face value.
In my opinion i think Toy Story 3 was an excellent movee. It made me think that they should make a 4th one but i highly doubt that they will.]
This is in the wrong thread. This thread is for reviews by actual film critics . Your personal reviews of the movie should go here. [url]Your Toy Story 3 Reviews - Toy Story / Lightyear - Pixar Planet Forums
Nice Thread about Toy story review. I love all movies and have review all three movies, when i had heard about their telecast. But here i also would like to say thanks for providing good sources to have a review of Toy story movies.
Dinoco
June 7, 2014, 9:25pm
#110
Gonna bump this one after three years. Lee Unkrich retweeted this little nugget:cine-file.info/list-archive/2014/JUN-14-2.html
To presume ignorance of TOY STORY 3 is to effectively admit that you hate classical Hollywood cinema: unfettered by any coherent and/or crude ideological ambition, this film is a legitimately relentless puree of stereotyped genres, and a rarity in that it only gets better with the more old movies you’ve seen; in fact, it’s quite possible that it’s a total bore for those who are actually in kindergarten. Lifting discursive patterns, gestures, soundtrack cues, and other mise-en-scène from a wide variety of narrative classics, at its high midpoint TOY STORY 3 can be comically shifting from mimicking melodrama, Westerns, prison dramas, capers, gothic horror, and even Mexican 1940s caballero films over the course of just a few minutes. This disturbingly informed and reflexive scriptwriting is, however, likely conceptually overshadowed by Pixar’s flashy surface role as both the apotheosis of engineering in aesthetic manufacture and as a fully-formed NorCal simulacral apparatus of SoCal cinematic production: a 218,000 square-foot involute eye, a 1.5- megawatt shrine to the optics of the camera lens. Perhaps the intermittent, clever noir homages in the screenplay are of secondary interest to the likely fact that multiple PhDs slaved away for a year to produce a relatively photorealistic black garbage bag for a single onscreen sequence. And perhaps that significant history-of- technology datum should be in turn dismissed, with a consideration of the studio’s typically dreary heteronormative politics (for a company based in the East Bay, the repeated homophobic reaction shots to the antics of Mattel’s metrosexualized Ken (Michael Keaton) are specifically reprehensible); the inescapable reproduction of globalized commodity fetishism underlying the trilogy’s very premise; and of the remarkable inaccessibility to humanity which necessarily pervades any endeavor constructed primarily by hundreds of unrefined CGI savants who have seem to have never grown out of the idea that STAR WARS is a fundamental cornerstone of civilization. That is to say: a movie ostensibly about growing up and leaving your toys behind, produced by an assembly line of grown men with toys adorning every corner of their cubes. (2010, 103 min, 35mm
