This summer, the movies are packed with nostalgia. The beloved Pixar toy gang is back together [again] in Toy Story 5, a whopping 31 years after the original film of this massive franchise hit theaters. Jessie takes the lead this time, which is wonderful as she’s such a compelling character.

Toy Story 4 feels like a fitting conclusion to Woody and the rest of the toys’ journey. I wish Pixar would give this franchise a rest and focus on crafting new original stories. Apparently, they feel the same way, but after the box-office flop of Lightyear in 2022, Disney pushed the animation studio to make the fifth Toy Story film to make up for the losses. Ah, why am I not surprised this was Disney’s idea all along?

Fortunately, the phenomenal Pixar team (led by Chief Creative Officer Pete Docter) is just so darn innovative that somehow they’re able to craft another clever, funny, and emotionally resonant movie that justifies its existence. It’s written and directed by Pixar veteran Andrew Stanton (Finding Nemo, Wall•E) and McKenna Harris, who has worked at Pixar as a character designer and story artist in a few major movies. 

Every Toy Story movie explores themes like identity, growing up, and letting go. I remember how Woody was envious of the new flashy toy, Buzz Lightyear, and worried about being replaced. But by the end of the fourth film, Woody decides to leave Buzz & co. to join Bo Peep, committing himself to help other lost toys find new homes. With Woody out of the house, Jessie becomes the sheriff of Bonnie’s room, with Buzz as her second-in-command.

Eight-year-old Bonnie (Scarlett Spears) is struggling to make friends; she’s even too shy to connect with her twin neighbors across the street. When her parents give her a brand-new tablet device, Lilypad, she immediately becomes obsessed with it. Her nonstop screen time replaces playtime with the ‘traditional’ toys, causing another crisis of abandonment.

Glad to see the voice actors reunite, this time embarking on a tech-centric adventure together. Tom Hanks and Tim Allen are back as Woody and Buzz, and Joan Cusack officially stepped out of her semi-retirement to reprise her iconic role as Jessie, this time as the lead. Greta Lee is great as Lilypad, but this is hardly her first rodeo in VO work. Conan O’Brien as potty-training toy Smarty Pants and Craig Robinson as talking GPS toy hippo Atlas make a hilarious duo. They’re a pair of discarded old-school tech toys in a farmhouse just outside of town that Jessie and Bullseye end up in.

I appreciate that the human kid’s story is more developed this time. Bonnie’s obsession with a digital device comes from her wish to make friends. Lilypad helps her connect with three classmates who also use the same device, allowing them to play together online. So, Bonnie isn’t just a background character in the toys’ adventure; the story really explores the realities of childhood. It also brilliantly tackles social peer pressure that young kids face. The three cliquey friends tease Bonnie for still playing with her old-school toys, making her feel out of place in her group.

As the melody of Randy Newman’s When She Loved Me starts playing, I knew that we’d be back to where Jessie used to live with her original kid, Emily. Hearing that melody and seeing the tire swing in the distance immediately get me teary-eyed. But Pixar can switch from emotional dramatic moments to hilarious shenanigans in no time flat, as the adventure involving Smarty Pants and Atlas is riotously fun. The high-tech Army Buzz seen at the beginning of the film is a hoot! They come into contact with Jessie as they desperately try to get back to Star Command.

The script finally leans into the romance subplot between Jessie and Buzz after being teased at the end of the second movie. It also addresses aging with a humorous twist. While toys don’t actually age, they play up Woody’s ‘bald spot’ as the paint on his plastic head starts to fade away. 

Emily’s former farmhouse is now home to a spunky, cheerful girl, Blaze (Mykal-Michelle Harris), who still enjoys playing with her toys. Jessie realizes that Blaze would make a great friend for Bonnie, leading her to shift her focus from herself and her toy friends to helping Bonnie connect with Blaze. Unlike Lotso from Toy Story 3, who took the story to quite a dark place, this movie is much more lighthearted and uplifting. Lilypad isn’t a villainous toy; she just has some misguided ideas about what’s best for Bonnie.

Pixar’s films consistently shine visually, which is no surprise. The stylized animation is stunning, showcasing intricate textures and lively expressions. I really enjoy the contrast of the smooth CGI animation with the classic watercolor and crayon aesthetics used to depict Bonnie’s imaginative playtime scenes. Newman’s 10th score for Pixar is delightful, whimsical, and, naturally, full of emotion.

In a time where screens are everywhere, the tale of the toy crew facing off against electronics taking over playtime feels relevant. The forgotten toys at the farmhouse really drive the message that they’ve been replaced by technology. The nighttime scene where kids’ windows glow from their devices in a suburban area is so spot on. I’ve noticed that my friends’ kids, who are about Bonnie’s age, can’t seem to let go of their tablets and will throw fits at restaurants when their parents ask them to stop. I think both parents and kids watching this can definitely relate to this experience. The theme of friendship is as strong as ever, not just for the toys, but also for the human kids.

As fantastic as this movie is, though, I do feel franchise fatigue creeps in while I was watching it. Even a powerhouse like Pixar can only rely on nostalgia for so long before it starts to feel like leftovers. After just watching the incredibly innovative Hoppers recently, I wish Pixar would bring more of that and finally end this profitable franchise on a high note.

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