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The sight, in the first few minutes, of the ever-determined cowboy doll clinging on to an old mobile phone as he listens to Andy’s confused “Hellos” is just one of several near-heartbreaking moments.
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Potato Head, but hey, we ain’t judging…) making desperate Woody-corralled gambits for his attention. The set-up has a 17 year-old Andy preparing to leave for college, his few remaining favourite toys (oddly after all these years still including a Mrs.
Andy toy story 3 movie#
Continuing the theme, the third Toy Story is very much a movie about retirement. While audience children could simply enjoy the toys coming to life and having adventures, the wage-slave grown-ups could, among other things, relate to the workplace anxiety generated by an impressive new ‘employee’ (in the first film), or the idea of being ‘promoted’ to somewhere where you think you’ll be more valued, but where the reality is you’ll no longer be doing the very thing you love most about your job (in the second). The studio certainly set the delicate course with Toy Story, a movie which not only contrasted the glee of imaginative play with the terrors of plaything-torture, but which, crucially, imagined its anthropomorphised, secret-life-living protagonists as adults just doing a job - the child Andy being their boss. And Pixar remains the master of that particular tightrope walk. Works the other way too: play it too young, and adult eyes glaze. Go too ‘dark’, and that theatre will be awash with trauma-induced tears. How ‘adult’ can a commercial family movie be pushed before it starts alienating its core audience? Lay on too many mature pop culture references (see Shark Tale’s emphasis on Mafia movie clichés), and you leave the smaller ones fidgeting.