Toy Story 5 (2026) – Film Review
Directors: McKenna Harris, Andrew Stanton
Voice Cast: Tom Hanks, Tim Allen, Joan Cusack
Certificate: PG
By David Reid
There is always a sense of anticipation when one of Hollywood’s most recognised film franchises releases a new instalment. From the start, what has set the Toy Story series apart is the way it represents key life events on screen, offering child and adult perspectives at the same time.
This came to characterise Pixar’s approach to its films, and was so successful that audiences now expect almost every children’s film to include something that appeals across the generations. Hollywood quickly recognised this too, with Pixar Animation Studios snapped up by the House of Mouse. The company has now been a subsidiary of the Disney Corporation for two decades.
For the viewer, however, the main question is whether Toy Story 5 can continue to match the high bar previously established by the first four films, particularly following the departure of key co-creator John Lasseter. We recall how the first film opened with Woody’s feelings of abandonment and jealousy after being replaced, in the affections of his owner Andy, by a space cadet action figure: Buzz Lightyear. Could Toy Story 5 carry it off once again?
The movie opens with a cargo of Buzz Lightyear toys marooned on a desert island following a crash landing. In this way, Buzz Lightyear, voiced by Tim Allen, finds himself in peril and facing an immediate challenge.
“Timely”
Our central human character, Bonnie, whom viewers may remember was first entrusted with Andy’s toys when he went off to college at the end of Toy Story 3, is struggling to make friends. Her well-meaning parents buy an electronic frog-themed tablet called Lilypad, voiced by Past Lives actress Greta Lee, to help their daughter socialise with other children.
This has an instant impact, with Lilypad’s technology connecting Bonnie with other children within seconds. However, the potential negative effects of the technology soon become clear, as Bonnie, along with other electronically connected children, loses touch with physical play after becoming glued to her new device.
In this way, both the human and toy characters face an existential threat, a common theme in Toy Story films. This is cleverly chosen by co-directors and writers McKenna Harris and Andrew Stanton. The latter has previously directed a number of Pixar animation classics, including Finding Nemo and WALL-E.
It is also timely, reflecting the pressing concerns of parents who have seen technology become a greater influence in their children’s lives, as well as their own. This is well articulated by Woody, voiced by Tom Hanks, who astutely points out: “Toys are for play, but tech… is for everything.”
“Cleverness and wit”
We quickly realise that Woody is also separated from the majority of the toys, who now live in Bonnie’s home. He is helping Bo Peep rehome abandoned toys. In his absence, Jessie has been appointed Sheriff, and she steps up to the plate, reuniting the toys to respond to the crisis.
This sets in motion a chain of events that is as unpredictable as it is engaging. Once again, the toys have to work together to resolve their problems, as well as those of their human owners. Jessie meets abandoned toys, including a toilet-training device called Smarty Pants, a sat-nav named Atlas, and an instant camera called Snappy. With the cleverness and wit with which they are used by the writer-directors, these are welcome additions to the cast, voiced by Conan O’Brien, Craig Robinson and Shelby Rabara respectively.
Although they have less screen time, viewers may be relieved to learn that existing favourites from the Toy Story ensemble, including Slinky, Hamm, Mr and Mrs Potato Head and Bo Peep, are not completely overlooked. For instance, there is a nice sequence in which Rex the dinosaur, never the sharpest thinker in the plastic toy world, mishears “donated” as “doughnuts”.
In this fifth film, it is really gratifying to see Jessie emerge as the principal toy character. Here, she finally steps out of the shadow of Woody and Buzz to marshal the other toys and influence events towards a thrilling conclusion. It is an animated post-#MeToo moment to savour. In doing so, she realises how much affection Bonnie has for her after all.
“Sense of purpose”
Whether the toys are working together as problem-solvers or sharing tender moments, the film never loses sight of how interdependent the toy and human worlds are in the lives of children. These movies have also formed important milestones in the lives of the audience, particularly the millennials who have grown up alongside them.
Jessie the cowgirl rollicks and charges her way through the action. Special mention must be made of the animated – sorry – nature of Joan Cusack’s voice work, which brings Jessie vividly to life. This skilfully builds upon the promise and emotional theme of Jessie’s Oscar-nominated song, ‘When She Loved Me’, written by Randy Newman for Toy Story 2.
Make sure you stay in your seat for the closing credits, as there are additional scenes, including one at the very end, accompanied by a specially written Taylor Swift song, I Knew It, I Knew You.
The first Toy Story film, also the first completely computer-animated full-length feature, famously achieved the accolade of a 100% Rotten Tomatoes rating. For this reviewer, the franchise stumbled with an uncharacteristically rambling narrative in Toy Story 4. I am pleased to report that, perhaps aided by a clearer sense of purpose, the fifth instalment is a return to form.
In the film’s trailer, Buzz Lightyear declares: “Our mission on this planet is to make a child happy.” On the evidence of this showing, mission accomplished.
David’s passion for cinema began with his first trip to the movies during The Troubles in Northern Ireland, where a screening of Jaws was dramatically interrupted by a bomb scare. Growing up in such an environment made entertainment scarce, deepening his appreciation for film and the arts. Over 25 years ago, he won a national film review competition, earning free cinema for life. This experience has allowed him to explore a vast range of genres and storytelling techniques. His reviews aim to provide insightful commentary without spoiling key surprises, helping audiences decide if a film is for them. He believes great filmmaking is rooted in strong storytelling, engaging viewers through narrative depth and presentation.
