Critic: "Toy Story 5" is Pixar's weakest film, just serving Disney's bottom line

The fifth instalment of the animated "Toy Story" franchise has reached cinemas worldwide, but film critic Anton Dolin considers it the weakest in the series. Director Andrew Stanton's new film lacks original ideas and was made primarily to meet Walt Disney corporation's profit goals. The film addresses the dangers of tablet addiction for children, but its message remains superficial.

Pixar's animated "Toy Story" fifth instalment has arrived globally, featuring cowboy Woody emerging from retirement to save his owner's girl Bonnie from digital addiction caused by her toys' companions. Film critic Anton Dolin believes the film is the weakest link in the franchise, primarily because it is the first "Toy Story" film made without the involvement of franchise co-creator John Lasseter.

Good, but not good enough

According to Dolin, the film has nothing inherently wrong with it-it simply isn't good enough. Pixar's signature visual precision and care remain intact, the film contains plenty of funny scenes, and features an endearing creature: a pig living in a drawn home. Both nostalgic adult viewers and small children will find entertainment in the film, but comparing it to earlier instalments in the franchise is difficult.

Rather than letting Woody retire peacefully, as was done in the fourth instalment, the new story pulls him back into active service. The catalyst is a green tablet in a frog-shaped case named Lilypad, which Bonnie's parents give to their daughter as a gift. Bonnie becomes immersed in the virtual world, and the toys-Jessie, Buzz, and Woody-must take up the fight themselves.

Social advertisement for conservatives?

Dolin points out that the film reads like a social campaign for a conservative party: "Throw away those brain-poisoning gadgets and remember lovely astronauts and brave cowboys!" However, he acknowledges that Pixar's screenwriters are not so direct-later in the film, it becomes clear that screens too have their value, and the main message stays true to real friendship.

For director Andrew Stanton, whose earlier works "Finding Nemo" and "WALL·E" are among Pixar's greatest achievements, this $250 million-budgeted film is the weakest project of his career. Side characters remain sketchy, several plot threads are borrowed from earlier instalments, and toilet humour feels awkwardly placed. The final chase is staged routinely, and the Taylor Swift song that plays over the end credits-whose production likely consumed a significant portion of the budget-leaves one cold.

A film made for profit

According to Dolin, Pixar was forced to greenlight the film at Walt Disney management's insistence. This is evidenced by the fact that the studio is simultaneously working on sequels for several of its other major franchises, both "Incredibles 3" and "Coco 2". The critic acknowledges that audiences' love for the franchise's iconic characters may compensate for the film's shortcomings, but this is more consolation than praise.