The toys are mistakenly delivered to a day-care center instead of the attic right before Andy leaves for college, and it's up to Woody to convince the other toys that they weren't abandoned and to return home.
By tying thousands of balloons to his home, 78-year-old Carl sets out to fulfill his lifelong dream to see the wilds of South America. Russell, a wilderness explorer 70 years younger, inadvertently becomes a stowaway.
When his new father-in-law, King Harold falls ill, Shrek is looked at as the heir to the land of Far, Far Away. Not one to give up his beloved swamp, Shrek recruits his friends Donkey and Puss in Boots to install the rebellious Artie as the new king. Princess Fiona, however, rallies a band of royal girlfriends to fend off a coup d'etat by the jilted Prince Charming.
Monsters generate their city's power by scaring children, but they are terribly afraid themselves of being contaminated by children, so when one enters Monstropolis, top scarer Sulley finds his world disrupted.
Woody, Buzz and the whole gang are back. As their owner Andy prepares to depart for college, his loyal toys find themselves in daycare where untamed tots with their sticky little fingers do not play nice. So, it's all for one and one for all as they join Barbie's counterpart Ken, a thespian hedgehog named Mr. Pricklepants and a pink, strawberry-scented teddy bear called Lots-o'-Huggin' Bear to plan their great escape. Written by
Walt Disney Studios
Originally, in the beginning Buzz was to be chained to the front of the train rather than flying it to safety. See more »
The toys never let people know they are alive, but several escape attempts, patrols by Lotso's gang and other things are recorded by the security cameras at the day care center. It is possible to alter images seen on security cameras, and conceivable that one or more of the toys in Lotso's gang would know how. See more »
[Mr. Potato Head, portraying One-Eyed Bart, jumps out of a train while carrying money sacks]
Mr. Potato Head:
Ah, ha ha ha! Money, money, money!
[Woody lassoes a rope to grab the money from Mr. Potato Head's hands, then trips him]
You've got a date with justice, One-Eyed Bart!
Mr. Potato Head:
Too bad, Sheriff! I'm a married man!
[Mrs. Potato Head jumps onto the train, giving karate yells]
[...] See more »
At the very end of the credits, "Zu-Zu (Ken's theme)" plays as the Pixar logo finishes. See more »
How in the world did Pixar make adults CRY over TOYS??!
The best magic tricks in the world are ones that cannot be unraveled, reverse engineered or dissected to figure out exactly how they are pulled off. This philosophy is doubly applicable to Pixar's "Toy Story 3", the storyline-ending outro of the beloved Toy Story, uh, story.
I feel it relevant somehow to divulge my age, as it somehow validates the powerful emotions evoked throughout the film. I am a 28 year old male, who, fifteen years ago, was fresh into the teen years of supposed adolescence at the release of some weird, 3d animated movie (wait, they can animate with computers?) entitled "Toy Story". This was a pretty bold move, a calculated stroll to the edge of the cliff and a daring leap off into the thin air of creativity and innovation. And it was a hit, ensuring 3d animation a place right alongside (more or less) 2d animation. And naturally, Pixar would be at the forefront, leading the cavalry charge of digital animation ranging from great to gawd-awful.
"Toy Story 3" starts off as comfortably as possible, with our friends Woody and Buzz Lightyear doing what they do the best...playing with Andy in his world of make-believe adventure. We are then treated to some familiar Pixar progression, like abandonment, solidarity, coming back to friends, and the passing of the torch. Clearly, in the eleven years between this point and when "Toy Story 2" wrapped, a computer revolution or four has occurred, allowing a world of unsurpassed clarity, reality and imagination to shine through like never before. TS1's spark is TS2's candle, and that in turn is TS3's blazing sun.
Roll the last fifteen minutes of film. It became clearly obvious that the figurative tables have been turned, because a good number of the adults in the audience (including myself) were sniffling and teary-eyed, while the kids were looking up, likely thinking "jeez mom and dad, they're just toys, get over it".
Wasn't it conventional wisdom that just the kids get emotional over losing plastic playthings? With "Toy Story 3", Pixar has shown us one of the greatest magic tricks in modern showbiz history, likely not to be outdone or duplicated, that we all have very real and deep connections to our childhoods and to the things and people that allowed us as kids to be free, and innocent, and pure, and most importantly, to dream. This, to me, is a life lesson worth remembering, to infinity and beyond.
"Toy Story 3" gets 10 of 10 blazing stars
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