CinePendejo

This movie, without question, fails to live up to the purity of the original. Right down to the callbacks and the often slack narrative, TOY STORY 2 only further highlights the truly unique experience of the first one. One of the few crazy ideas that alchemized into something thoughtful, character-driven, and thrilling, there's no way it could be replicated. I mean, just look how A BUGS LIFE turned out.

But with all the baggage held against the sequel, it's also without question it's the most ambitious. Thoroughly expanding its story to deeper, more existential questions, it's the rare sequel that earns its EMPIRE STRIKES BACK level praise. It's finally a movie that questions what truly makes for a great life for a toy: standing behind glass walls and loved by everybody forever, or live with a finite relationship with a child destined to grow out of you soon.

Buzz gets the backseat this time around, centering the story on Woodys turmoil while his space friend endure some hijinks to rescue him. People might say his side story is the sole weak point but I'd argue it's necessary for the story; it's a lot of heavy themes at play, so the gang deliver just the right amount of humor to level the tone.

By now, everybody knows the Prospector turns out to be a last minute bad guy at the end. My take on this is how seamless of an antagonist he is; the idea that all toys are destined to be thrown out looms heavy on these characters. So much so that any of these characters can snap to immoral tendencies at any minute. This is why Kelsey Grammer delivers a phenomenal performance here. He's comforting as the Prospector but you can clearly hear the history behind it all. You can hear the desperation of his character, let alone Jesse and Bullseye too, and the film slowly builds that desperation into villainy that seems tangible.

As for Jesse, let's just say there's a particular moment with her that personally spoke to me. Not gonna say which though, seems like an easy answer.

Again what can I say; TOY STORY 2 is a grand achievement that could've done much less.

Here's what I say about the "best" movie in the X-Trilogy: I took a nap during this slog three times. Three.

I'm all for movies that focuses on character work and personal stakes instead of big explosions in my superhero movies, but this constructs the blandest and vaguest versions of those possible. An aggressively boring movie not only wrecked by ugly sets and a horrendous pace, but also by how it fails to live up to the central conflicts in the movie. Strykers son feels completely contrived, only there to freeze Xavier out of commission in the third act, and Wolverines journey to his past just marks down things we already know. It all feels like filler, with the whole "global headache" in the end not holding any stakes.

The only scene that really registered with me is probably the least necessary plot-wise but perfectly highlights the "Mutants as metaphor for civil rights" angle. The scene where Iceman meets his parents in shock - which then follows Pyro killing armed cops with explosions - is easily the most emotionally riveting and coolest scene out of all of these movies. And the crazy thing about it: we don't even need it in the movie! It's just a detour for the characters to seek refuge only to get picked up by the hovercraft anyway.

Yeah, I just don't care. Personally, I choose the first movie simply because it's shorter and more to-the-point, despite looking a whole lot cheaper.

I hate having a rather lukewarm conclusion to every Jason Reitman film as of late, but so far the man constantly fumbles his own potential. In telling the story about Senator Gary Hart's promising presidential campaign gone wrong after a sexual allegations, Reitman faces this bold canvas with all bias and no bite. In which he frames the snooping, persistent news journalists as the real bad guys for ruining a promising future, and that sexual wrongdoings should never interfere with a mans success.

Now obviously I REALLY don't agree with this - like AT ALL - but a better movie should explain their case as to why. But this movie keeps him at a distance, focused too much on journalist banter, and brushes off his ideals and complexities to even make a case for Hart. It's like the film constantly assures you that you'd be on his side and understand the squandered potential. Which inofitself reeks of our-of-touch entitlement, especially faced with the #MeToo movement, but it also results in a limp, one-note, overlong movie.

But I can't say it's all bad. Jason Reitman is a damn good visualist and he mimics an Altman-like banter and style quite well. High Jackman holds his own damn well as Gary Hart, even among his laughable wig. And even though she barely get enough screen time or agency, Sara Paxton gives an especially heartbreaking performance.

If there's one thing about his shortcomings, it's that at least Reitman knows how to use his tools.