Classic Movie Review Sleepless in Seattle

Sleepless in Seattle (2023) 

Directed by Nora Ephron 

Written by Nora Ephron, David S. Ward, Jeff Arch 

Starring Tom Hanks, Meg Ryan, Rita Wilson, Victor Garber, Rosie O'Donnell, Bill Pullman 

Release Date June 25th, 1993

Published June 26th, 2023 

Losing my mother in 2013 was the hardest thing that I have ever endured. My mom was awesome. She worked three retail jobs, 80 to 90 hours per week, when I was a kid, just to make sure that myself and my sister had food and a good home. All that time, she remained unsinkable in her spirit and love. She was a human teddy bear, soft and comforting. Her worst quality was that when someone she loved was suffering, she would make that suffering her own, as if she could take our pain away by making it her pain. I consider myself incredibly lucky to have had a mom who was so loving and empathetic. 

My mom fostered my love of movies. I have a distinct memory from my childhood of my mother swooning over Cary Grant. I'd make fun of her for her reaction to Cary Grant movies and she would lean into it by talking about how handsome and charming he was in effusive terms. I can recall the first time I saw my mom cry was the day she was supposed to go see Cary Grant's one man show in Davenport, Iowa. That show never happened as Grant died the night before the show was to take place. My mom showed me that para-social relationships with celebrity weren't a bad thing, they were a human thing. 

The movie Sleepless in Seattle, which features prominent references to Cary Grant, became a favorite movie for my mom. She would watch it any chance she got. She didn't love Tom Hanks as she did Cary Grant, but her heart leapt seeing him fall for Meg Ryan at the last minute. She felt the same rush of emotion every time she watched the movie, even as she'd seen it a dozen times and was fully aware that the happy ending was coming. She always got teary when Meg Ryan took Tom Hanks' hand at the end of the movie. It showed me that being emotional about movies was not just okay, but something that just happens when you witness something beautiful. 

Sleepless in Seattle is a beautiful film. It's a celebration of magical romance and believing in something beyond yourself, the notion of fate. The characters of Sam Baldwin and Annie Reed were fated to be together. The universe conspires to unite them. Through the audacity and resolute stubbornness of Sam's son, Jonah, and the good luck that he has a best friend, played by Gaby Hoffman, whose parents are travel agents, Sam and Annie are brought dramatically together on the most romantic day of the year in one of the most romantic spots on the planet. 

Read my full length review at Geeks.Media 

Movie Review Asteroid City

Asteroid City (2023) 

Directed by Wes Anderson 

Written by Wes Anderson 

Starring Jason Schwartzman, Edward Norton, Scarlett Johansson, Tom Hanks, Steve Carell, Tilda Swinton, Willem Dafoe, Jeffrey Wright

Release Date June 23rd, 2023 

Published June 23rd, 2023 

I adore the work of writer-director Wes Anderson. As a film critic with more than 20 years of experience writing about movies, Anderson's work has an unusual appeal for me. I see so many movies that look the same, go for the same goals, demonstrate the same filmmaking technique, and though they can be quite good or not good, the sameness of most of what I see becomes monotonous. Then, along comes a Wes Anderson movie like an alien from another planet. Instead of striving to place his characters in a place we can recognize and identify with them in a typical fashion, Anderson's style creates a surreal reality all its own. 

In his first feature film, Bottle Rocket, the characters were colorful and odd amid a realistic landscape. Since then, The Royal Tenenbaums began a turn for Anderson that led to more and more of a surrealist perspective. Anderson is a fan of artifice, and he brings artifice forward in his cinematography and production design. In his newest, remarkably ingenious work, called Asteroid, the surrealist production design is intended to logically marry the stage and film. It's as if Wes Anderson wanted to adapt a play into a movie but wanted to bring both the play and the movie forward at once. It's an exceptionally silly, funny, brilliant move. 

Trying to describe the plot of Asteroid City is rather pointless. Wes Anderson isn't so much interested in his plot. Rather, it's a Wes Anderson style of comedy, a series of odd, awkward, and often various funny scenes that may or may not be moving forward a plot. On the surface, we are following photographer and family man, Augie Steenbeck (Jason Schwartzman), as he takes his kids across the country and their car breaks down in the oddball small town of Asteroid City. Luckily, they were on their way here anyway as Augie's oldest son, Woodrow (Jake Ryan), is to compete for a science scholarship. 

Asteroid City is the real star of Asteroid City. At the center of the town, which is made up of, perhaps four locations, is a giant crater where an asteroid landed in 3200 B.C. The town grew up around the asteroid as scientists and military men seek to understand the asteroid. Tilda Swinton is the top scientist and Jeffrey Wright is the military man. Things get crazy when an alien comes to Earth and takes the asteroid. The arrival of an alien causes the town, and all of its visitors, including Augie and his four kids, celebrity actress, Midge Campbell (Scarlett Johannson) and her genius daughter, Dina (Grace Edwards). 

Augie begins a tentative flirtation with Midge, their tiny cabins are right next door to each other, and Woodrow starts a budding relationship with Dinah as they work with their fellow genius kids, played by Sophia Lillis and Ethan Josh Lee to study the alien while also making sure the rest of the world knows that the alien exists, much to the chagrin of the military and their parents. The genius kids also work with Tilda Swinton's scientist to try and determine where the alien went and whether or not the alien is dangerous or not. 

Find my full length review at Geeks.Media 

Movie Review A Man Called Otto

A Man Called Otto (2023) 

Directed by Marc Forster 

Written by David Magee 

Starring Tom Hanks, Mariana Trevino, Rachel Keller, Truman Hanks, Manuel Garcia Rulfo 

Release Date January 6th, 2023 

Published January 6th, 2023 

A Man Called Otto hits an emotional sweet spot for me. It made me cry in both sadness and in joy. This is a movie I was incredibly skeptical about. The trailer was an irritation, it made Tom Hanks into some kind of Archie Bunker character in a modern sitcom. Thankfully, that's not what A Man Called Otto really is. Instead, the film, directed by the brilliant Marc Forster, is a study of grief, aging and loss tinged with romance, sentimentality and a sense of humor. That sense of humor starts with casting purportedly the nicest man in Hollywood, Tom Hanks, as a grouchy curmudgeon who treats others with a deep and abiding contempt. 

Tom Hanks is Otto Anderson and six months ago, his beloved wife, Sonya, passed away. His grief has turned Otto into a depressive hermit who lives only by the routine of punishing minor offenses committed by his neighbors in a tiny gated community. Outside of that, he's simply waiting to die. Well, actually, he's not waiting. One of the first things we see Otto doing is gathering the materials needed to hang himself. That's when fate intervenes in the form of new neighbors, one of whom, Marisol (Mariana Trevino), seems intent on making Otto her friend. 

There is a strangely magical quality to A Man Called Otto in how fate constantly conspires to interrupt Otto's attempts at killing himself. It's comical how many times Otto comes close to ending his life only to have someone intervene at the last moment, unwittingly causing Otto stick around. And that's the arc, Otto battling with a universe that seems intent on keeping him alive regardless of his desire to go to the afterlife to be with his wife. One of those intervening to keep Otto around is a homeless cat who takes to Otto and may or may not be magical manifestation of his late wife. 

That's purely my interpretation of A Man Called Otto. Most other critics seem to be treating the film as a straightforward story about a jerk who hates everyone and is trying to kill himself. Me, I see a magical story about fate and a man eager to defy the forces of good around him. I found that to be a very sweet and funny story, dark, yes, but only in the sense that the character is in a dark place emotionally and the light seems to actively try to find him. Your mileage will vary on whether you buy into my take on the movie or decide to take it merely at face value. 

Mariana Trevino is a complete delight. Her Marisol is a ball of joy bounding into Otto's life unaware of his troubles and yet determined to save him all the same. She's Magic Pixie Dream Best Friend, a sweetheart bursting with empathy and cheer. Even in the moments where Otto inflicts some genuine hurt on her via his bad attitude, she always bounces back and her resilience is inspired. In the hands of a lesser performer, the character of Marisol could just be a function to move the plot but in the hands of Mariana Trevino, the character takes on wonderful dimensions as she draws Otto toward revealing his pain and beginning to heal. 

Find my full length review at Geeks.Media 

Movie Review: The Simpson's Movie

The Simpsons Movie (2007) 

Directed by David Silverman

Written by James L. Brooks, Matt Groening, Al Jean 

Starring Dan Castellaneta, Julie Kavner, Nancy Cartwright, Yeardley Smith, Hank Azaria, Albert Brooks, Tom Hanks, Harry Shearer

Release Date July 27th, 2007

Published July 27th, 2007 

20 years in the making, America's funniest TV family is now on the big screen and funnier than ever. The Simpsons, Homer, Marge, Bart, Lisa and Maggie, have been a dominant force in American pop culture for years now. With the release of their first movie, their place in our cultural history grows in proportion. The Simpsons Movie transcends the small screen not by leaving behind the aspects that made it such a wonderful television enterprise but rather by blowing it up to a new size for a different screen.

That the transfer is so amazingly successful is a testament to the brilliance of the material and the creative minds who have made it so.

The Simpsons Movie finds our hero family in more jeopardy than they have ever faced this side of a Halloween episode. Lake Springfield has been so badly polluted that just one more dumping of chemicals could make it completely toxic. Naturally, that one last dumping would come from Homer Simpson, defying a new city ban on dumping in the lake, Homer drops off a silo full of pig droppings, courtesy of his new pet pig, into the lake and thus sets off an environmental disaster.

The situation in Springfield Lake is so bad that it reaches all the way to Washington D.C where President Arnold Schwarzenegger conspires with the head of the EPA Russ Cargill (the blessed Albert Brooks), to deal with the Springfield problem in ways the President doesn't have to read about. Thus, Springfield is cut off from the outside world by a giant dome dropped over the city. Soon the EPA will launch a plan to destroy the city whole, that is unless the Simpsons can save the day.

That is a very simple description of a plot far more rich than my description. The Simpsons Movie, like the TV show, is rarely about its plot. Rather, the Simpsons thrives on what can be done in and around a particular plot. In this case, the environmental destruction plot offers the opportunity for political humor aimed at both sides of the political spectrum.

Both environmental activists and the political hacks and contractors who thrive on environmental destruction are painted with the same skeptical brush. Admittedly, the creators of The Simpsons Movie have a more liberal perspective, but they do go out of their way to try and be fair and balanced, in the tradition of their sister news network.

The real source of humor in The Simpsons Movie is the Simpson family themselves. The love and exasperation of being a family is what has always been at the heart of America's favorite family and the writers of the Simpsons and now The Simpsons Movie, know how to tap that for big laughs. The deep abiding love the Simpsons have for each other binds them together and opens up wide avenues of humor.

Little moments like Lisa decking Bart after he mocks her crush on an Irish heartthrob or bigger moments like Homer's entreaties to get the family to follow him to a new home in Alaska and the line "I've come to really like you guys", are the kind of familial grace notes that the series has built over the years. There really is nothing they can do that they won't forgive, no matter how outlandish. It is the cartoon's most human and yet broad element.

The Simpsons have made a nearly flawless move from the small screen to the big screen and have begun, what I hope, is a renaissance for america's favorite family. The TV's show's ratings have slipped in the past few years and many long time fans have said the show has lost a step. The Simpsons Movie is proof, that simply isn't the case.

The Simpsons are funnier than ever in The Simpsons Movie. You've got to see it for yourself.

Movie Review: A Beautiful Day in the Neighborhood

A Beautiful Day in the Neighborhood (2019) 

Directed by Marielle Heller

Written by Noah Harpster 

Starring Tom Hanks, Matthew Rhys, Susan Kelechi Watson, Chris Cooper 

Release Date November 22nd, 2019 

Published November 20th, 2019

The new Mr. Rogers movie, A Beautiful Day in the Neighborhood, is a revelation. The story of an Esquire reporter, Lloyd, played by Matthew Rhys, who is assigned to profile Mr. Rogers for the magazine defies conventions in ways that are entirely unexpected and delightful. Director Marielle Heller has truly come into her own with this remarkable artful yet accessible movie that is not merely about the legendary PBS kids show host Mr. Rogers, but about all that he stood for and embodied. 

A Beautiful Day in the Neighborhood opens with that oh so familiar theme song of the same name. Here, however, it is sung by Tom Hanks, who portrays Mr. Rogers in a role that artfully incorporates elements of fantasy and reality. The opening Mr. Rogers Neighborhood segment is a fantasy that has Mr. Rogers introducing us to his new friend, Lloyd, a deeply troubled soul who writes for Esquire Magazine and struggles with being a new father while being estranged from his own father, Jerry, played by Chris Cooper. 

Lloyd has alienated so many people in his career that, according to his editor, played with gravitas by Christine Lahti, no one wants to be interviewed by him anymore. Only one person of note has agreed to an interview with Lloyd and that person is Mr. Rogers. The nice guy kids show host puff piece is not Lloyd’s style but with no other option on the table, he agrees and travels to Mr. Rogers’ neighborhood in Pittsburgh for the interview. 

Things are somewhat off-kilter from the start in A Beautiful Day in the Neighborhood and it is a risky proposition. Director Marielle Heller, fresh off of the Oscar nominated success of Can You Ever Forgive Me starring Melissa McCarthy, risks alienating the audience by immediately having Hanks’ Mr. Roger break the fourth wall and act as narrator of the movie, introducing the more straightforward, dramatic and familiar scenes. 

Heller then chooses to transition from scene to scene using the models right out of the Mr. Rogers Neighborhood set. It’s a style that evokes the esoteric direction of a Charlie Kaufman or Michel Gondry but in a decidedly more accessible fashion. A Beautiful Day in the Neighborhood is stylistically bold yet lacking in pretension. That’s likely owed to the subject, Mr. Rogers himself was notably unpretentious, a quality that Tom Hanks captures in his performance. 

Another bold choice that Heller makes is casting Hanks and Mr. Rogers in what is essentially a supporting role. The heavy dramatic lifting here is done by Matthew Rhys as Lloyd. The Emmy Award winning co-star of the hit drama The Americans, Rhys has the burden of being both a character in and of himself and the audience avatar, the one who must bring us closer to Mr. Rogers and help us to understand what made him special. 

Rhys’ performance is brimming with life and complex emotions. His backstory is brilliantly layered into the storytelling and Rhys evokes his past trauma effortlessly with his expressive, sad eyes. The scenes of Lloyd interviewing Mr. Rogers are challenging and fascinating. There is a threat that Mr. Rogers might come off as too all-knowing and benevolent as he gently yet inquisitively probes Lloyd’s obvious emotional wounds. Rhys and Hanks are remarkable for how well they ground these charged conversations in a way that feels authentic to the movie and to the memory of Mr. Rogers. 

Lloyd is exactly the kind of person who needs the kinds of lessons that Mr. Rogers taught on his show. These are lessons of compassion, forgiveness and understanding that Lloyd missed out on as a child due to his myriad traumas. Having to learn these lessons as an adult via becoming a parent with his wife Andrea, played by Susan Kelechi Watson, and by the re-emergence of his estranged father, Jerry,  finds Lloyd emotionally ill-equipped and Mr. Rogers offers unexpected guidance. 

What an absolutely lovely way to tell this story. Director Heller and screenwriters Micah Fitzerman-Blue and Noah Harpster, could have taken the easy way out, cast Tom Hanks as Mr. Rogers and call it a day. Instead, they chose daring and artful devices to reveal the way Mr. Rogers affected so many lives in so many ways and do it in a fashion that takes his lessons from the simplicity of childhood to the complexity of adulthood. 

Now that I have seen it, I can’t imagine it being dramatized any other way. I had feared that 2018’s Mr. Rogers Neighborhood documentary, Won’t You Be My Neighbor, would render A Beautiful Day in the Neighborhood redundant. Instead, what we have is an even greater tribute to the legacy of Mr. Rogers, a film that masterfully evokes Mr. Rogers’ best qualities while not making Rogers out to be a saint or a metaphorical martyr for some notion of family values. 

Beautifully captured, boldly emotional and deeply affecting, A Beautiful Day in the Neighborhood ranks as one of the most moving filmgoing experiences of my life and one of my favorite films of 2019, a year that is truly coming alive with incredible movies. 

Movie Review: The Da Vinci Code

The Da Vinci Code (2006) 

Directed by Ron Howard 

Written by Akiva Goldsman 

Starring Tom Hanks, Jean Reno, Audrey Tautou, Ian McKellan

Release Date May 19th, 2006 

Published May 18th, 2006 

Having read Dan Brown's worldwide best seller The Da Vinci Code my expectations for the film version were quite low. Despite his admittedly intriguing premise involving the bloodline of Jesus Christ, the holy grail, and secret societies, Dan Brown's writing style is a tedious mixture of portentous dialogue and sub-Crichton chase scenes.

Thankfully the movie version of The Da Vinci Code is blessed with talent creative enough to salvage the usable elements of Brown's intriguing premise and prop up his weak points to watchable levels. Director Ron Howard, Academy Award winning screenwriter Akiva Goldsman, and star Tom Hanks are such professionals that even Dan Brown's tiresome, predictable clichés become relatively captivating mysteries.

Tom Hanks stars in the Da Vinci Code as Professor Robert Langdon. A Symbology expert, Professor Langdon is in Paris promoting his book when he is picked up by the Paris police. Taken to the world famous Louvre museum, Robert's help is sought in the investigation of the death of the museum's curator Jaques Saurniere (Jean-Pierre Marielle).

Langdon was to have a meeting with Saurniere while in Paris but as he tells police investigator Bezu Fache (Jean Reno), Saurniere never showed. What Langdon does not know is that Fache already has a suspect in the case, Langdon himself. The body found in the grand gallery amongst some of the world's greatest artistic treasures is surrounded by pagan symbols and clues, that Robert believes he is there to help interpret.

Coming to Robert's aide is a police code breaker, Sophie Neveu (Audrey Tautou). Having observed the evidence at headquarters, Sophie has determined that Fache has settled on Langdon being guilty. She's also figured out that Langdon is very much innocent based on the same evidence. 

Saurniere happens to be Sophie's estranged grandfather. The symbols he left behind, in his own blood as he slowly died, were meant for her but she needs Professor Langdon's help in solving all of the riddles grandpa left behind. This includes a secret passed down through the ages that Saurniere has kept and was in the past the provenance of people such as Victor Hugo, Sir Isaac Newton and Leonardo Da Vinci.

With Sophie's help Langdon escapes the Louvre, with some helpful artifacts from Saurniere and clues from Da Vinci himself. They must follow the clues if they are going to prove Robert's innocence and discover the amazing secret Jaques Saurniere died to protect, a secret that could lead them to the legendary Holy Grail. 

They will also need the help of an old friend of Robert's, conspiracy theorist Sir Leigh Teabing (Ian McKellen). An expert in all things related to the holy grail, Sir Leigh lets Robert and Sophie in on the scope and scale of the mystery they are trying to solve and the tremendous danger that secret threatens to unleash.

Keep in mind, of course, that the real killer of Jaques Saurniere is still out there. Silas (Paul Bettany) an imposing, self flagellating monk of the order of Opus Dei murdered Saurniere to get to the secret himself on behalf of a shady bishop (Alfred Molina). Working in secret for the Vatican, the bishop intends to destroy the holy grail if he gets his hands on it.

But just what is the holy grail? That is a mystery I will leave for you to discover by watching the movie. For storytelling purposes it's simply the McGuffin, that thing as described by Hitchcock, that drives a mystery movie plot. Be it a mysterious brief case, some sort of world killing virus or in this case the holy grail. It's that thing that every character in this kind of film seeks and that some characters will kill for. It's the motivation for chase scenes, gun fights and love stories.

This makes The Da Vinci Code a rather typical movie mystery. The film does indeed have more than a few chases, a few bullets fired and the makings of a minor love story. The Da Vinci Code is a conventional thriller except that it's driving force happens to be rather controversial.

Writer Dan Brown spins an outlandish tale that calls into question the divinity of Jesus Christ and spins a fantastical story of a Vatican cover up, the holy grail, and a secret society call the priory of scion whose membership reads like history's hall of fame.

It's a terrific story that in his book Brown drowns out with droning dialogue and a highly predictable murder mystery. The challenge to the filmmakers was to remain faithful enough to satisfy the millions who managed to fight through the books clichés while patching Brown's many plot holes.

Writer Akiva Goldsman does what he can to repair the books worst aspect, the dialogue. Cleaning up Brown's dense, halting prose, Goldsman cuts to the quick. This at times leaves people who haven't read the book in the dark but keeps the film from having to be four hours long to explain all of the various details. At 2 hours and 30 minutes, the film is long and filled with a lot of dialogue but we can thank Goldsman for getting the films many jargon filled conversations moving.

Also thank Ron Howard for keeping things moving as well. Only pausing when he absolutely has to, Howard keeps the film humming along with chase scenes, narrow escapes and tantalizing historic scenery from Paris to London. There was no way that even talents like Howard and Goldman could plug the many holes in the convoluted Da Vinci Code plot but they are blessed with a dream cast who allow us to relax and forget about many of those rather large holes.

Tom Hanks with his friendly, aw shucks charm is always an inviting screen presence. He's become an old reliable friend on screen and no matter how implausible the plot may be you want to follow along just to hang out with our buddy Tom Hanks.

Ian McKellen may not be our pal like Tom but playing a charming English eccentric, McKellen is perfectly at home and highly entertaining. His Sir Leigh Teabing has some of the more lengthy and difficult dialogue in the film but who better than the classically stage trained englishman to deliver even the most tedious monologues. His grand accent alone is enough to lull you into believing the fantastic lies he spins.

The Da Vinci Code is no groundbreaking adventure in the way Indiana Jones was but it's not the stultifying borefest that was National Treasure. It falls somewhere in the entertaining but forgettable middle ground of those two similar adventures. Good enough for me to recommend to fans of mystery, fans of the book and especially fans of our old pal Tom Hanks.

Movie Review: Catch Me If You Can

Catch Me if You Can (2002) 

Directed by Steven Spielberg 

Written by Jeff Nathanson 

Starring Leonardo DiCaprio, Tom Hanks, Christopher Walken, Amy Adams, Martin Sheen

Release Date December 25th, 2002 

Published December 24th, 2002 

Less than a week ago, Leonardo DiCaprio entered theaters with Gangs of New York, his first truly adult performance. He returns in his new film portraying a kid again. In Steven Spielberg's Catch Me If You Can, DiCaprio is famed teenage con man Frank Abagnale Jr, the youngest man ever to make the FBI's most wanted list. Though DiCaprio is playing a teenager in this film, it is yet another grown up performance that announces DiCaprio as an actor of great depth.

The true story of Frank Abagnale Jr. is one made for the big screen. Before the age of 19, Abagnale had been an airline pilot, a lawyer, and a doctor. He was also a master check forger. The story is told in flashback as FBI agent Carl Hanratty (Tom Hanks) arrives at a French prison to retrieve Abagnale who had served two years in the prison for the same crimes he was charged with in the States. We flashback to young Frank and his picturesque family life. Frank's father, Frank Sr. (Christopher Walken), and his mother (Natalie Baye) seem to be happy. Unfortunately his father's business is going under and the IRS is beating down their door. The stress is breaking up the marriage. This leads Frank Jr. to hit the road and begin his life of crime.

Frank writes a series of bad checks before the banks finally cut him off. Then, inspiration strikes in the form of an airplane pilot. Seeing the respect and admiration people showed for airline pilots, Frank sets about becoming a pilot (or at least looking the part.) After conning officials at Pan Am into giving him a uniform and enough background information to be able to talk a good game, Frank sets about being a pilot. Using his uniform and sheer bravado, Frank starts forging checks from Pan Am. The uniform gave him instant credibility and Frank's ability to charm the female bank tellers meant never even having to produce an ID to have a check cashed in any bank in the country.

With the FBI onto his pilot scheme, Frank settles in Atlanta where a chance encounter with a sweet little nurse named Brenda (Amy Adams) leads Frank to become a doctor. He fakes a degree from Harvard Medical School and watches Dr. Kildare. Suddenly, he's working the night shift as the head on call doctor in the emergency room. Thankfully, being in charge of a group of doctors means that Frank is never left to tend to a patient. Frank's relationship with Brenda leads to yet another close call with the feds, and has Frank headed for Europe.

Despite his adept criminal mind and quick wit, Frank is still a kid and still a sloppy criminal and the FBI is quickly on his path. In one amazing encounter, Frank actually comes face to face with the FBI agents on his tail and crafts an amazing lie to make his escape by posing as a secret service agent. The scene relies on a great deal of convenient timing and luck, but then I'm sure the real Frank Abagnale was the beneficiary of convenient timing and luck throughout his criminal run.

Indeed, Frank Abagnale's story is true. He was the youngest man ever to make the FBI's infamous most wanted list. He did cash forged checks over a three year span that totaled over 4 million dollars and he did impersonate a doctor, an airline pilot, and a lawyer and even for a short time a French teacher in his own high school. His first taste of how to run a good con, he made it a full week as a French substitute without actually speaking any French.

Why did Frank Abagnale do all of this? The likely answer is because he thought he could get a way with it. Spielberg however can't help tossing in a little pop psychology as a partial explanation. The film posits that the break up of his parents' marriage and his desire to reunite them by buying their problems away caused Frank to become a criminal. That and his father's hatred for the government kept Frank on the run. 

DiCaprio however never communicates a tortured victim, but rather, an excitable teen who lacks a good solid hobby. If there had been extreme sports in Frank's day, he may have just risked his life on stupid stunts. In place of that, his need for a constant rush leads him to crime. FBI agent Hanratty becomes his unwilling accomplice, providing Frank with the reason to keep running. What fun is being a great con artist or a great anything for that matter, if no one is around to appreciate it?

Spielberg is a preeminent story teller and in Frank Abagnale he has a great story. Unfortunately, Frank is too good of a guy for there to be any great drama. The film makes great use of the audience as Frank's co-conspirators. With his charm and wit, DiCaprio has the audience cheering for him to get away and you can't help but laugh at the way Frank toys with the people who attempt to deny him. However, the audience never really understands the gravity of his situation. Stealing four million dollars is a serious thing; it's grand theft. Yet, Frank is so likable and the narrative is so forgiving to him one would think it was okay for him to get away.

In many ways, Catch Me If You Can reminded me of a far better film, The Talented Mr. Ripley. Both films are about troubled youth con men. Both guys are loners who are desperate for attention and both draw the sympathy of the audience; however, Ripley is far more dramatic than Abagnale. His longings and crimes add weight to the character that Abagnale lacks. Catch Me If You Can is far more flashy than Ripley is and, for that reason, the drama is lacking. Frank never seems to be in any real danger.

Both DiCaprio and Hanks are strong but Catch Me If You Can still seems weightless. It isn't a comedy but it's not nearly dramatic enough to be taken seriously. Yes, this is a true story. But something tells me the real story is a little more dramatic than the featherweight screen version. All of that said, Catch Me if You Can is wildly entertaining and with Spielberg, Hanks, and DiCaprio, you have a trio incapable of making a bad movie together. Catch Me if You Can may not live up to all of your expectations but it is nevertheless entertaining. 

Movie Review: The Terminal

The Terminal (2004) 

Directed by Steven Spielberg 

Written by Sacha Gervasi, Jeff Nathanson 

Starring Tom Hanks, Catherine Zeta Jones, Stanley Tucci, Chi McBride, Diego Luna, Zoe Saldana

Release Date June 18th, 2004 

Published June 17th, 2004 

I thought it was an urban legend. My brother and I were discussing the new Steven Spielberg/Tom Hanks flick The Terminal when he told me the story of Merhan Karimi Nasseri. Mr. Nasseri has spent the past 15 years in the international terminal of Charles De Gaulle Airport in France after his bag was stolen with all of his identification.

The Iranian born Mr. Nasseri has lived off the kindness of the airport staff for 15 years, has inspired 2 documentaries and a French film called Tombes Du Ciel or Lost In Transit starring the legendary Jean Rochefort. Now Mr. Nasseri is a getting a big time American treatment from Steven Spielberg and Tom Hanks. Sadly, this trifle of a film is exposed for it’s light as featheriness by the dramatic true story on which it is loosely based.

In The Terminal, Tom Hanks is Viktor Navorsky who has come to New York City from his Eastern block home of Krakozhia. Unfortunately while Mr. Navorsky was flying to America, Krakozhia plunged into civil war and the government dissipated. Now in America, Mr. Navorsky is a man without a country, his Visa is invalid because the U.S government can’t recognize a ruling power in Krakozhia. Until the war ends and a new government is established, Viktor must remain in the airport terminal.

Breaking the bad news to Viktor is the not so kindly head of the airport’s Homeland Security Office Frank Dixon (Stanley Tucci). It is Frank who could find away to really help Viktor but instead strands him with bureaucratic red tape and then takes a sadistic interest in preventing Viktor from making the most of his desperate situation.

Stuck in the International terminal, that looks more like a mall than an airport thanks to the numerous real brand name stores, Viktor waits and involves himself in the lives of the airport staff. There is Diego Luna as a food delivery worker who trades Viktor free food in exchange for Viktor’s help in romancing an INS Agent played by Zoë Saldana. Although Viktor knows he can’t leave, he visits the INS office every day to have his passport declined.

Chi McBride is a baggage handler with a soft spot for late night card games. He sees Viktor as a soft mark for poker games but soon becomes a real friend. And then there is the janitor, an Indian man played by Kumar Pallana, a lovable oddball with a secret past. Pallana provides the biggest laughs of the film and none of them at his expense.

Finally, there is Catherine Zeta Jones as Amelia, a flight attendant who takes a shine to Viktor but can’t get involved because she is hopelessly involved with a married man played briefly by Michael Nouri. While she tries to resist the urge to be with the married man, Amelia and Viktor come close to romance until the plot conspires to split them.

Despite the film’s dramatic underpinnings, everything is kept very light and airy. In fact, it’s so light that it floats off the screen and almost immediately from your memory. Tom Hanks, arguably our most talented actor, here plays a sort of lovable puppy of a character whose moral fiber is so unquestionable, he is too good to be true. There is nothing wrong with a character that is virtuous but Viktor is Touched By An Angel good. Maybe that explains why Stanley Tucci's officious bureaucrat hates him so much anyone this perfect would eventually get on your nerves. Still, Tucci is too evil to be true until the plot calls for him to look the other way.

Too good to be true describes most of The Terminal which suffers from a script full of contrivances. Viktor quickly learns English, lucks into the food deal with Diego, lucks into a job working construction in the terminal and in typical forced romantic comedy fashion, he has a meet-cute with Amelia that becomes a running gag.

I have been quite hard on The Terminal to this point so I should point out that their are a number of good things about the film. Steven Spielberg's direction is typically strong in its structure and look. Cinematographer Janusz Kaminsky relishes the freedom given him by a set that was built specifically for the film and for his camera to be positioned as he pleased.

The film’s biggest star may in fact be the set created by production designer Alex McDowell. Rather than trying to wrangle shooting time in a real airport terminal, McDowell and his team of designers built a terminal inside of a Los Angeles airport hangar. The flawless design is a seamless recreation of any major airport terminal in the country right down to the uncomfortable benches, the ungodly level of branding, and astoundingly high prices.

However, without a well-told story to decorate the terrific set, the movie isn't worth anymore than it's production design. The Terminal is likable and sweet, and occasionally quite funny, but it is also inconsistent, simpleminded, and lighter than air. Tom Hanks is his typically likable self and Mr. Spielberg's direction is of his usual quality. It's unfortunate that the script by Sacha Gervasi and Jeff Nathanson is far below the quality of their work.

Movie Review Larry Crowne

Larry Crowne (2011) 

Directed by Tom Hanks 

Written by Tom Hanks, Nia Vardalos 

Starring Tom Hanks, Julia Roberts, Bryan Cranston, Gugu Mbatha Raw, Taraji P Henson

Release Date July 1st, 2011 

Published June 30th, 2011 

"Larry Crowne" is a disappointment on multiple levels. First, and most important, is how truly awful a movie "Larry Crowne" is. Boring, banal, pointless and at times bordering on amateurish. Then there is the fact that the film stars two of the biggest stars of the past 25 years of film, Julia Roberts and Tom Hanks.

And finally, there is the fact that Tom Hanks co-wrote and directed this failure of sub-sitcom humor and cloying romance. Tom Hanks had shown so much promise as the director of the charming period rock n' roll movie "That Thing You Do." To see him deliver something as charm-free and banal as "Larry Crowne" is just sad.

Tom Hanks stars in the title role of Larry Crowne. Larry is maybe the nicest, sweetest guy you would ever want Tom Hanks to play; he's Forrest Gump minus most of the mental handicaps. Larry was in the Navy for more than 20 years but when asked about it he's quick with a humble smile and an admittance that he was just a cook. Awww.

Larry's wife divorced him several years ago, before they could have kids but after they had bought their suburban dream home. Since then, Larry has thrown himself into his work, taking great pride in being an eight time employee of the month at U-Mart, a Wal-Mart/Target Superstore clone.

Unfortunately for Larry, he never went to college. At UMart you can only move up to management if you have a degree and without one, Larry can't move up so he must move on. Fired from his beloved retail job, Larry finds the job market unwelcoming. Lucky for him, his neighbor has an idea, Community College.

If Larry can get a degree maybe he can get his job back or an even better job. Is the movie over? No, it has only begun as Larry returns to school and immediately acquires a new best friend, a perfect pixie named Talia (Gugu Mbatha-Raw) who immediately sets about changing Larry's life around; new clothes, new haircut, new friends and boom, slightly new Larry. She's a manic pixie dream-best friend. 

Meanwhile, in another movie, Julia Roberts plays a slightly alcoholic Community College professor who happens to have Larry Crowne in one of her classes. From time to time the camera ditches Larry to follow the professor into her sad life with her porn addicted, unemployed husband, Dean (Bryan Cranston).

Oh if only she could get a little Larry time; his cuddliness and good humor would without a doubt brighten her day and solve all of troubles. Oops. I maybe should have offered a spoiler alert there. Then again, did you think "Larry Crowne" was going to star Tom Hanks and Julia Roberts and they weren't going to be matched up?

The fact is, romantic comedies aren't about suspenseful plotting, they're about setting believable, interesting, roadblocks between potential love mates and watching them humorously negotiate said roadblocks on their way to a chirpy happy ending. Rom-coms are about the journey and in the case of "Larry Crowne," it's not a great journey.

Tom Hanks and Julia Roberts demonstrate a stunning lack of chemistry in "Larry Crowne." In fact, Hanks has a great deal more chemistry with young Gugu Mbatha-Raw than with Julia Roberts. That however, would be a different, possibly more interesting movie. That movie would at least have the tension of a cross-racial May-December romance.

"Larry Crowne," on the other hand, has no tension whatsoever. As Roger Ebert points out perfectly in his review, Larry Crowne begins as a good guy and progresses through the movie as a good guy before ending as a good guy. There is no arc to "Larry Crowne." We know where the movie is going and it gets there with a minimum of humor and zero tension, as if complicating the plot might make the audience uncomfortable.

Oh, but there is the porn addict husband, right? He's a source of tension isn't he? He's played by Breaking Bad's Bryan Cranston. That must be contentious? But it's not, the script deals the husband out of the story with such simplicity as to have simply forgotten he was even there.

It's shocking and sad just how bad "Larry Crowne" is. I am a huge Tom Hanks fan but I cannot deny just how banal the whole thing is. The humor is amateurish, the romance is lifeless and perfunctory and the movie just sort of stands around smiling pleasantly and hoping that all of the Tom Petty songs on the soundtrack, there are like a dozen of them, will be entertaining enough to distract from the dullness of what little story there is.

Movie Review: Road to Perdition

Road to Perdition (2002) 

Directed by Sam Mendes 

Written by David Self 

Starring Tom Hanks, Paul Newman, Tyler Hoechlin, Jude Law, Daniel Craig

Release Date July 12th, 2002 

Published July 11th, 2002 

Tom Hanks is the ultimate affable good guy, in many ways he's the essence of the everyman. The party animal from Bachelor Party, the doofus cross dresser from Bosom Buddies, and the ultimate noble good guy, Forrest Gump. It is this reputation that made Road To Perdition so special. In Perdition, Hanks portrays a cold hearted mob assassin seeking revenge. It is a stretch, because he's Tom Hanks but a man with two Oscars under his belt never lacks for confidence.

In Road To Perdition, Hank's is Michael Sullivan, a hitman for the Rock Island branch of Al Capone's Chicago Mob. Paul Newman is John Rooney, Sullivan's boss, a man who is like a father to Michael. That dynamic changes dramatically  when a 'business' meeting goes bad. Rooney's actual son, played by Daniel Craig, kills a mob associate unexpectedly and the hit is witnessed by Michael's son, Michael Jr, played by Tyler Hoechlin. Unwilling to let his son be caught by either the cops or the mob, John Rooney turns on Michael and decides to have Michael and Michael Jr killed. 

Also on the Sullivan's’ trail is a hitman named Harlan "the Reporter" Maguire (Jude Law). Maguire is called The Reporter because after he kills someone he photographs the body and sells the picture to the newspapers. It's a great gimmick, a well fleshed out bit of detail that Jude Law clearly relishes. Law is wildly charismatic and you can sense how much he enjoyed playing this character in Road to Perdition. It's a delicious supporting role, superbly played. 

Road To Perdition has a strong narrative, hard boiled dialogue, and, of course, the acting is first rate. Especially good is the legendary Paul Newman as the pragmatic mob boss forced to choose between his son and his adopted son. Newman gives two flawless monologues that should net him an Academy Award nomination, if not a win. Hanks made his Oscar reservations the day he signed onto the picture. Hanks never trades on his persona. For Hanks, Michael Sullivan is a challengingly different role and he makes it look easy. With any icy stare and everyman look he transforms into a surprisingly menacing version of himself.

Director Sam Mendes, who won the Academy Award for his first picture American Beauty, beats the sophomore jinx with an amazing depiction of real life violence and it's consequence. It's about the bonds of family and especially fatherhood. As Newman's character explains "Sons were put on this earth to trouble their fathers". Of course Conrad L. Hall does yet another spectacular job. His cinematography is damn near flawless, especially at the film’s moving climax.

If I had any problem with the film it was the feeling of inevitability. Every action by every character seems as if it were written in stone long before it happened. This inevitability makes the film a little predictable. Also, the films ending, while very moving, lacks the catharsis the audience desperately needs. Still, you can go ahead and pencil in Road To Perdition on your fantasy Oscar ballot.

Movie Review Angels and Demons

Angels and Demons (2009) 

Directed by Ron Howard

Written by David Koepp, Akiva Goldsman

Starring Tom Hanks, Ewan McGregor, Ayelet Zurer, Stellan Skarsgard 

Release Date May 15th, 2009 

Published May 14th, 2009 

Dan Brown is the Stephanie Meyer of the conspiracy set. He may not have vampire teens but, he has an equally easy reading, mass appeal quality. Where Meyers adds faux Shakespearean dreariness to Vampire tropes, Brown takes the well worn ideas of the tinfoil hat set and adds suspense and complicated dialogue to create a worldwide phenomenon that millions love because the implied complexity of puzzles makes you feel smart.

Angels & Demons is, curiously, a sequel to 2005's worldwide blockbuster The Da Vinci Code. Curious because Angels & Demons was actually released before The Da Vinci Code which was its sequel. It doesn't really matter; if you check your Summer blockbuster for continuity or a modicum of good sense, summer movies likely aren't for you.

Tom Hanks returns in the role of Harvard Symbology Professor Robert Langdon. As if to show you how awesomely convoluted his stories are, Brown invented an entire field of study. Symbology is a thing but it's more commonly known as Semiotics, Symbology is just easier for audiences to understand, the root, symbol, very simple. When last we left Dr. Langdon he had discovered Da Vinci's secret about the Virgin Mary's burial plot.

Now, he's been called to Vatican City where the death of a pope has some wondering if murder were afoot. There is a whole lot of nonsense about the Hadron Collider, a scientist and his daughter, Dr Vittoria Vetra (Ayelet Zurer), Hanks' obligatory sidekick, and the College of Cardinals, but none of it really matters. The crux of Angels & Demons comes down to Tom Hanks running about while various murders are committed at locations only a Symbologist could discover.

Ewan McGregor co-stars as Father Patrick McKenna who could be Langdon's ally or he could be the number one suspect. He could also be a red herring from the casting department. Trust me, once McGregor pulls a devastatingly convoluted bit of skydiving you will not care, either you will have given in to the goofball fun of Brown's low watt conspiring or you will be mid-nap. Stellan Skarsgard also appears in Angels & Demons as the head of Vatican Security and it becomes a red herring contest between he and McGregor. 

I was modestly entertained by how silly and beach read-y Angels & Demons is. Ron Howard is far too talented a director for things to get too far out of whack. Howard, at the very least, keeps the energy level high. As for Tom Hanks, his good guy act is top notch. Hanks can't help but elevate this material as his innate likability can't be dimmed even by the most convoluted and nonsensical of plots. Hanks holds sway over an audience like few other actors are capable of. 

Angels & Demons is mostly harmless popcorn entertainment. At over 2 hours, with multiple twist endings, it definitely overstays its welcome but if you are a fan of Dan Brown, Ron Howard or Tom Hanks you may just be forgiving enough to like Angels & Demons. There is nothing terrifically wrong with the occasional insipid bit of plot nonsense when you have Tom Hanks leading you past the silliness. 

Movie Review Toy Story 3

Toy Story 3 (2010) 

Directed by Lee Unkrich 

Written by Michael Arndt 

Starring Tom Hanks, Tim Allen, Joan Cusack, Don Rickles, Wallace Shawn, John Ratzenberger

Release Date June 18th, 2010 

Published June 17th, 2010 

With the release of “Toy Story 3” Pixar authored a third masterpiece in the film series that began the company's unmatched winning streak. Toy Story 3 is as bright, imaginative, compassionate and thoughtful as the first two entries in the series. And yet, the series doesn't simply fall back on qualities that it has become known for. Much like how a child learns about the world, the Toy Story franchises grows, learns to embrace change, and gets better for the lessons learned and commented upon. 

We rejoin our friends Buzz (Tom Hanks) and Woody (Tim Allen) and their family of toys as they make a vain attempt to get their kid Andy's attention. Andy is now 18 years old and preparing to leave for college. It's been several years since Andy has played with his toys but they hold out hope that one day he might pick them up again. If not, there is always the attic where they can wait for Andy to start a family and pass them on to his kids.

Things go awry however when Andy's mom mistakes the toys, sans Woody who Andy decides to take with him to college, stuffed into a garbage bag intended by Andy for the attic, for trash. This begins one terrifically suspenseful action scene as Woody risks everything to get to the curb and save his friends while Buzz attempts to save the day from inside the bag.

Thinking that Andy had abandoned them, the toys duck into a box of toys to be donated to a local day care center. Woody joins them, attempting to get them to go back to Andy. The day care meanwhile seems like a dream, a retirement home for toys where they can get played with by new kids for years to come.

There is a sinister undercurrent to all of the good natured fun of this kid friendly aesthetic. That sinister undercurrent emanates from a suspiciously too friendly stuffed bear named Lotso (Ned Beatty) who steps forward as a leader of the daycare toys and appears to have a place for the new arrivals. However, instead of taking care of Woody and his pals, Lotso dooms them to the Butterfly room where kids too young to properly care for toys end up playing with them in the most painstaking fashion.

Juxtaposed with this story is Woody's journey to get back to Andy and his very real internal conflict between his loyalty to Andy and his loyalty to his family of toys. It's remarkable the ways in which director Lee Unkrich along with Toy Story creators John Lasseter and Andrew Stanton cause us to invest so deeply, emotionally in these toy characters. We feel for these characters as deeply as any human character we've ever seen on screen.

Just as remarkable is how this deep emotional connection is forged with joy and laughter. Toy Story 3 racks up big laughs through out its feature length even at the most dramatic and heart rending moments. Unkrich, Lasseter and Stanton know that the best way to deliver a hard lesson is to follow it with a big laugh and no scene demonstrates this quite as well as the landfill conveyor scene, a scene filled with danger, sadness and eventually a big laugh.

This is some of the finest writing and voice acting we've seen in any Pixar feature and some of the most eye popping, remarkable animation as well. Pixar has advanced this art form to such lengths that it's hard to find superlatives that haven't already been overly ascribed to the artists at Pixar.

”Toy Story 3” is a masterpiece. It is a remarkably emotional, action packed, breathtakingly beautiful movie. The characters that we came to know from Pixar's early days have only grown even more warmhearted, funny and vulnerable over the years and our emotional investment in them has only deepened with each ensuing adventure. What a remarkable feeling it is to be moved so deeply by non-human characters. Moved and yet also gleefully, joyfully entertained.

Movie Review: Toy Story 4

Toy Story 4 (2019) 

Directed by Josh Cooley 

Written by Andrew Stanton, Stephany Folsom 

Starring Tom Hanks, Tim Allen, Annie Potts, Christina Hendricks, Jordan Peele, Keegan Michael Key, Keanu Reeves, Tony Hale 

Release Date June 21st, 2019

Published June 20th, 2019

I keep imagining that at some point the team at Pixar is going to slow down, that the quality will begin to slip and that the high standard they’ve held for more than 25 years has to decline at some point. And yet, quite wonderfully, they never fail. Pixar’s unfailing quality is an even greater testament to the company’s standard of excellence. For the fourth time, Pixar has made a Toy Story movie that manages to transcend expectations.

Sequels are never expected to improve upon the original. In general, Hollywood sequels are more often than not mercenary efforts intended solely to grab cash while taking advantage of the public appetite for something comfortingly familiar. The folks at Pixar however, are not ones to compromise on quality. Sure, few things are as comfortable and familiar as the chemistry between Woody and Buzz, but Pixar is not a company to rely only on that.

Toy Story 4 is as brilliant, emotionally complex and funny as any of the other Toy Story films. And to add to the degree of difficulty, the film is directed by a debuting director, Josh Cooley. Taking over for John Lasseter, who founded the franchise and carried it to a wonderful sequel and Lee Unkrich who pushed the concept of Toy Story to a place of remarkable poignance and humor in Toy Story 3, Cooley had a nearly impossible task in front of him. That Toy Story 4 equals the standard of the first three films is utterly remarkable.

Toy Story 4 picks up the story of our toy heroes, led by Woody (Tom Hanks) as they live life as Bonnie’s toys. Lately, Woody has fallen out of favor, often being left in the closet while the rest of the toys go to play. This however, has not dampened Woody’s dedication to Bonnie and when she is leaving for her first day of Kindergarten, Woody covertly tags along in her book bag. Woody then secretly helps Bonnie through her first day by getting her the art supplies she needs to create a new friend.

When Bonnie returns home from school, she returns with not just Woody in tow. Woody introduces the rest of the toys to Forky (Tony Hale), Bonnie’s new favorite. Bonnie made Forky out of a spork, some sticks, glue and a pipe cleaner. Forky’s existence is a crisis, not for any of the toys, but for Forky himself. Forky does not see himself as a toy but as a disposable, trash item and he seeks to fulfill his trash destiny.

Woody takes it upon himself to keep Forky with Bonnie at all cost. When Bonnie’s family decides to take a road trip, Forky makes a break for it by jumping from the moving RV in the middle of the night. Being the dedicated toy hero that he is, Woody jumps after him and the main plot of Toy Story 4 kicks in. Woody must convince Forky to accept life as a toy and make it back to the RV before it leaves the following morning from a nearby RV park.

Before Woody and Forky return, Woody gets distracted by something in an antique shop. It appears to be the lamp of Bo Peep (Annie Potts), Woody’s long ago friend from his days as Andy’s favorite toy. Bo Peep was given away years earlier and was thought lost forever. Woody decides to see if she is in the antique shop but before he can find her, Woody and Forky are waylaid by the latest brilliant villain of the Toy Story universe, Gabby Gabby (Christina Hendricks), a talking baby doll with a broken voice box.

Gabby Gabby and her dummy minions see that Woody has a voice box and they are eager to get it from him. Gabby takes Forky hostage when Woody escapes and it will be up to Woody to try and rescue his new friend while his old friends try to keep Bonnie’s family from leaving without Woody. You were probably wondering what role our old friends were playing, specifically Buzz (Tim Allen), Jesse (Joan Cusack), Slinky Dog (Blake Clark) and Ham (John Ratzenberger). They’re all back but they are mostly sidelined, used sparingly in the Bonnie’s family subplot.

Buzz does get his own story as he goes looking for Woody and explores his inner voice, which he mistakes for the literal voice that comes out when he presses the buttons on his chest. The cluelessness here feels a little off brand for Buzz who has grown in the previous three movies but Allen’s voice work sells it with wit and energy. Allen’s comfort level with the character and this universe could likely make any character trait work for Buzz Lightyear, short of becoming a serial killer.

The new cast members of Toy Story 4 are a rich group of comic possibilities. Christina Hendricks brings nuance and likability to Gabby Gabby who is not the straight ahead villain you expect. Gabby Gabby has the poignance of Ned Beatty’s Toy Story 3 teddy bear but not his tragedy. Gabby Gabby’s story has an unexpected outcome that I won’t spoil here other than saying it is quite satisfying.

In the smaller supporting roles, Keegan Michael Key, Jordan Peele and MVP of 2019, Keanu Reeves, each bring big laughs to Toy Story 4. These characters are a smart innovation for the franchise. While Woody is carrying a rather dramatic story, Key and Peele’s Ducky and Bunny and Keanu’s Duke Caboom, are purely comic inventions. I really loved the running bit that Key and Peele get that I won’t spoil here, it’s silly but it works.

Toy Story 4 is a really great movie. It’s not only because we already love these characters, it’s because the creative team at Pixar cares so deeply about giving these movies a reason to continue. Here, the story is about the growth of Woody. Tom Hanks’ voice has aged perfectly into where Woody is as a character. He’s a little hoarse, he’s a little tired but he’s still eager to please and brimming with dedication, empathy and care.

The relationship between Woody and Annie Potts’ Bo Peep is a wonderful story, truly the heart of the movie. The Woody and Bo Peep story would be enough on its own to make Toy Story 4 transcendent but Pixar is, as always, an embarrassment of riches when it comes to storytelling and Toy Story and because of that, there are numerous things to enjoy about Toy Story 4, perhaps the single most durable and enjoyable movie franchise of all time.