“Minions & Monsters” stars Pierre Coffin, Trey Parker, Jesse Eisenberg, Zoey Deutch, Allison Janney, Bobby Moynihan, Phil LaMarr, Christoph Waltz, and Jeff Bridges.  Releasing on July 1, 2026, the film has the Minions searching for monsters to feature in their movie.

The film is directed by Pierre Coffin, known for co-directing the first three “Despicable Me” installments and “Minions”.  It is part of the “Despicable Me” franchise and serves as a prequel to both “Minions” and “Despicable Me”.  The world of film has undergone numerous evolutions that have shaped how we watch movies, both in storytelling and technology.  However, the one form of evolution they neglected to tell until now is the time someone made a monster movie with actual monsters, and by “someone”, I mean a group of small, yellow minions.  The “Despicable Me” franchise has given birth to the side characters who not only became the adorable mascots of Illumination and every mom’s Facebook post, but also led a separate series of chaotic misadventures that’s just as successful as their time with Gru.  After hanging out with a younger Gru in "Rise of Gru", the Minions are now taking their wackiness to the world of Hollywood as they seek to achieve their own dreams of superstardom.  That is, if they don’t destroy the film industry first.  Was this latest chapter in their search for their master as glamorous as the movie business itself, or should audiences prefer them to be with Gru more often?  Let’s find out.

The story takes place in the 1920s, around forty years before the events of “Minions”.  A different group of yellow, pint-sized, and dim-witted Minions (Coffin) is continuing their quest to find the perfect master for them to serve.  Their search takes them to the world of Old Hollywood, where their shenanigans lead to their discovery by film director Max (Waltz).  One day, James, a more artistic member of the group, was inspired to make a movie of his own, one that includes real monsters.  This led him, along with two other minions, Henry and Ed, to summon a Cthulhu-like creature named Goomi (Parker) to guide them on their quest to find more monsters for the movie.  Unfortunately, their intention results in them unleashing chaos upon Hollywood, forcing them to undo the world-ending mistake they caused.

As much as I liked the Minions for their amusing slapstick humor, I have been having mixed feelings about their series of spin-offs.  While the first “Minions” movie was a fun watch, “The Rise of Gru” took a rather unfortunate nosedive with its subpar blend of story and Looney Tunes-like comedy.  I know that plenty of people see the latter as an improvement over the Minions’ first solo adventure, but to me, it felt more like an excuse to keep the Minions relevant in today’s time.  Maybe I’m at that point where the Minions have overstayed their welcome, as evident in the last two “Despicable Me” sequels, or maybe I didn’t find their new jokes as appealing as their earlier outings?  Either way, I felt like my interest in these cartoony, corn-shaped servants had begun to wane.  Fortunately for the people at Illumination, they were generous enough to give me a premise worthy of giving the Minions another chance to redeem themselves—a premise involving the film industry.  Given my passion for movies, I’ve been enjoying plenty of projects that either pay tribute to the history of Hollywood or make fun of it, so seeing the Minions take a shot at filmmaking should be right up my alley.

But, of course, it would have to do more than shower me with Hollywood’s graces to get the prequel series back on track, especially with its story.  Regarding its trailers, “Minions & Monsters” looks to be more of the same in terms of the Minions’ interactions and slapstick, for better or worse, along with a few macabre moments that may make parents question its PG rating.  Those who enjoyed the last two “Minions” films because of it will certainly be pleased that this film doesn’t change much about it.  However, I’m not sure I can say the same for people who want to move on from the craze that started sixteen years ago.  But if some of them are actually willing to give these goofy Minions another chance, there’s a good chance that they might be in for a surprise.  As I said, I went into “Minions & Monsters” with low expectations because of my waning interest in these Corn-Pop-shaped creatures and Illumination’s kid-friendly checklist.  To my shock, through some miracle, I was rewarded with something that has been missing in the “Despicable Me” franchise since the third main installment: the joy and heart of Minion-esque charm and slapstick.

On paper, this seemed like another cash-grabbing sequel, made only to sell more merchandise to younger kids and distract them with jangling, cartoonish keys.  On the screen, “Minions & Monsters” is exactly what it is, but it’s the type of sequel that also exists to provide harmless entertainment.  One that’s actually decent enough to possibly get the animated franchise back on track.  You might be thinking, “Oh, you’re just liking it because you’re a sucker for Hollywood, and you grew up liking the Minions.”  That’s true on some accounts, but it’s also worth remembering that I thought “The Rise of Gru” was just okay, and I didn’t like “Despicable Me 4”.  One such reason is the film's combination of Minion-esque humor and Old Hollywood.  With its slapstick gags reminiscent of old cartoons like “Looney Tunes” and “Tom & Jerry”, as well as its Easter eggs and references, the film offers a kid-friendly and suitably gorgeous perspective on Old Hollywood and movie magic that even longtime cinephiles can appreciate.  You know that meme featuring Leonardo DiCaprio pointing at something on the screen from “Once Upon a Time in Hollywood”?  “Minions & Monsters” would very likely make any movie fanatic replicate that meme almost every time.

In a way, the film parodies the ever-changing film industry during the Classical Hollywood era, from the silent film generation to the invention of sound, to even the sci-fi genre.  However, it also never lost sight of combining its parodic nature with a tribute to the Golden Age of Hollywood and a passion for filmmaking, all of which play a key role in its narrative.  Like its predecessors, “Minions & Monsters” has a story that’s obviously straightforward, predictable, and devoid of depth, in which James attempts to pursue his artistic passion by making his first movie, much to the Minions’ disapproval.  It goes through the usual checklist that Illumination has used in its previous movies, such as vibrant colors, simple plots, cartoonish slapstick, and breakneck pacing.  However, this is another case where the formula actually works most of the time, primarily because of the heart it embodies and its themes of friendship and following one’s dreams.  It didn’t have the perfect way of reflecting its storytelling and themes, given its predictability and simple premise, and the pacing, while suitable to its absurdity, didn’t give itself time to develop them further.  Fortunately, it compensates for these flaws by making me care for the Minions, mainly for James and Henry’s friendship.  Something that I didn’t expect to say in my review for a “Minions” movie until now.

Aside from its story issues, “Minions & Monsters” is quite possibly the most fun I had watching a “Minions” prequel film since…well, “Minions”.  As I mentioned, it offers the usual slapstick we would expect, which is in the same vein as “Looney Tunes” or “Tom & Jerry”, except the chaos takes place on a movie set.  But these moments turned out to be surprisingly entertaining, pretty darn humorous, and somewhat clever in the film's parody.  Pierre Coffin continues to have a solid grasp of what made the Minions so delightfully appealing, evident not just in his direction but also in his voice acting.  He usually has a way of providing magnetic charm and family-friendly aesthetics into the Minions’ escapades throughout the “Despicable Me” franchise, even if some weren’t as memorable as others.  His direction in “Minions & Monsters” is no exception, bringing back the familiar slapstick essence seen in the earlier installments, along with a few bits of macabre humor and mild heart to boot.  It didn’t match what he delivered in the first two “Despicable Me” films, but it’s a small step in the right direction.  Additionally, I’m still pretty amazed at Coffin’s efforts in voicing all of the different Minions while making them distinctively amusing.

The rest of the cast is another element I would add to Illumination’s moviemaking checklist, where it gathers as many A-list celebrities as possible to voice the characters.  However, I would still give Illumination some credit for ensuring that some of the actors sound as undistinguished and wacky as possible, as it did in this movie.  Trey Parker, who previously voiced Balthazar Bratt in “Despicable Me 3”, returned to the franchise to voice another villain, Goomi.  If you’ve seen the recent trailer for “Minions & Monsters”, then you’ll know that this small monster is anything but cute.  Despite resulting in his arc being extremely predictable, Parker still provided enough fun moments in his distinct performance to make Goomi a simple yet tolerable antagonist.  Jesse Eisenberg also delivered some decent voice work as Dort, a robot that the Minions see as their boss and a parody of Gort from “The Day the Earth Stood Still”.  No joke, I could barely tell that was Jesse Eisenberg’s voice coming from the robot, highlighting the actors’ ability to distinguish their usual voices for specific characters.

Finally, we have the film’s animation, which remains Illumination’s strongest suit in the industry.  While I admire the recent evolution of animation we've seen, thanks to the Spider-Verse films, I still think Illumination deserves credit for making the most of its standard CGI presentation.  As usual, the animation in “Minions & Monsters” shines in its wacky slapstick, Easter eggs, and illuminating vibrancy, but it also works very well in its detailed scope and environments, particularly in 1920s Hollywood.  I would admit that the Super Mario movies still reign supreme when it comes to Illumination’s presentation, thanks to their faithfulness and visual eye candy.  However, that doesn’t make “Minions & Monsters” even less impressive with how far this seemingly small animation studio has come since its first feature film sixteen years ago.

Overall, “Minions & Monsters” has enough glitz and glamor in its presentation and humor to deliver a monstrously entertaining addition to the Minions’ series of wacky misadventures.  Regarding the franchise as a whole, this is a surprisingly decent cinematic comeback story for the yellow, pint-sized creatures, following its previous two installments, as it regains the blend of slapstick and heart that’s been missing for a long time.  It underscores the usual issues that Illumination has had in its recent films, mainly its straightforward storytelling and brisk pacing.  However, it also emphasized the aspects that made them enjoyable, more so than others, while reflecting its parodic tribute to Old Hollywood and movie magic in a fun, charismatic, and wacky manner.  It may not win back some of its detractors who are ready to move on from the gibberish-speaking, energetic Minions, but its glamorous and disorderly vibes will surely delight its target audience and even some cinephiles willing to believe a Minion can create cinematic art.  With its solid voice cast, vibrant animation, entertaining humor, and a mix of slapstick and mild heart, the film should make for another suitable option for families to see during the summer.

​“Jackass: Best and Last” stars Johnny Knoxville, Steve-O, Chris Pontius, Wee Man, Preston Lacy, Dave England, “Danger Ehren” McGhehey, Sean “Poopies” McInerney, Zach Holmes, Jasper Dolphin, Rachel Wolfson, and Eric Manaka.  Released on June 26, 2026, the film follows the Jackass crew as they perform their stunts and pranks, both old and new.

The film was directed by Jeff Tremaine, best known for co-creating “Jackass” and helming “The Dirt”.  It is the fifth and final installment in the "Jackass" film series.  For 26 years, Johnny Knoxville and his crew have committed almost every dangerous and hilariously painful stunt imaginable that leaves audiences either giggling, wincing, puking, or all of the above.  Controversies be damned.  Despite lasting for three seasons on MTV, the “Jackass” crew has been keeping that pain train going with spin-offs, a couple of games, and best of all, feature films.  But like all popular franchises, there’s a time when all those “good” times must come to an end.  Of course, what better way to ride off into the sunset than with another big-screen outing that celebrates the good, the bad, and the highly excruciating?  We all thought that “Jackass Forever” was the last time we would see this insane crew, especially given Knoxville’s critical injuries from his "Magic Trick" stunt.  But as it turns out, he and the rest of his “daring” team have some mental juice left in their bodies to perform one last hurrah together, or in this case, one last “OUCH!”  Does this latest series of crazy stunts warrant depicting the franchise’s farewell or end up being one wince-inducing prank too many?  Let’s find out.

Similar to its previous installments, the movie consists of a compilation of stunts, skits, and pranks performed by Johnny Knoxville and his “Jackass” crew.  Joined by their new members from “Jackass Forever”, the team performs new, dangerous ideas that will continue to test their mental capacity and bravery, including a prostate exam from a robot named Larry.  Amid its new stunts, the film also revisits some of the crew’s best and hilariously painful moments from the franchise via archival footage, as they look back on the fond yet excruciating moments before bidding farewell to the times they shared. 

If someone were to ask me about my experience with the “Jackass” franchise, I would say I got the most out of the movies.  I thought I remembered watching one of the episodes of the television series years ago, but the first three films are the ones I recognize best.  I was hesitant about it at first because of its concept, but thanks to the film adaptations, I gradually grew to appreciate the franchise for taking bold risks with its uncensored raunchiness.  Plus, some of the pranks they performed were actually pretty funny, if not delightfully disgusting.  It was enough for me to check out “Jackass Forever” four years ago, and I thought it was the best of the film series so far.  When I found out about this film being the very last time we’ll see Knoxville and the crew, I figured, “Sure, why the hell not?”  It looks to be more of the same as before based on the trailers, but you know what they say: if it ain’t broke, don’t fix it.  Granted, the format is what made “Jackass” popular in the first place, so I’m happy to see that they left that alone, for better or worse.  As someone who watched its predecessors, I’m pleased to say that it’s for the better.

For those unfamiliar with the series and films, “Best and Last” is basically 90 minutes of Johnny Knoxville and his gang performing risky stunts that aren’t worth replicating in real life.  Before you ask, most of them involve them destroying their penises for the sake of entertainment.  The best way to watch this movie and the other “Jackass” cinematic outings is to worry less about the plot and just have fun laughing at their misery.  That’s what I did for this film, and I walked out of the theater satisfied and even cramped from all the laughing I did.  At the same time, it left me feeling sad that this is the last time we’ll see this crew together.  While I still feared for their lives, I couldn’t help but smile at how much fun they had performing these pranks for 26 years, due to their authentic chemistry.  With their time possibly coming to an end, it made sense that they wanted to finish off their saga with a literal bang, and they did just that.  Much like its predecessors, “Best and Last” is a crude, gross, and hilarious series of dumb choices that left me smiling from ear to ear and laughing maniacally at the pain it induced.

Would I say it’s just as good as “Jackass Forever”?  Well, yes and no.  It packs the same level of hilarity and “WTF” essence we’ve come to expect from “Jackass”, with some new stunts that I enjoyed more than others.  However, the concept also raises the question of whether it’s worth paying $13 to see it in theaters.  As I said, “Best and Last” not only showcases the brand-new stunts, like Steve-O’s prostate exam, but also includes some of the older ones from the franchise’s past and some never-before-seen footage, including the show’s unaired pilot.  Do you remember when shows aired their final episodes as “clip show” episodes to remind their viewers of the “good old days” before their farewells?  Well, “Best and Last” decided to bring that idea back as a way to remind fans of the best, or in this case, painful moments Knoxville and his team had.  By the way, I love that they brought back the “Silence of the Lambs” skit from “Jackass Forever”.  That was one of my favorite pranks of the entire “Jackass” saga, mainly because it was the only moment I remembered laughing the hardest at.

On the one hand, this “best of” compilation is a suitable way to share the crew’s fond memories of the franchise and to allow longtime fans to revisit their favorite stunt or prank on the big screen.  On the other hand, it also feels like an excuse for their inability to come up with any new ideas to meet the runtime criteria.  While I can see newcomers appreciating the older stunts they missed out on, I also can understand why fans would rather rewatch the previous “Jackass” movies for free to experience them again.  It’s not technically a bad idea from a filmmaking perspective, especially when they prove to be just as funny as they were before.  However, from a fan’s perspective, it would likely depend on how eager they are to pay money to watch them again in the theater.  Regardless, Jeff Tremaine continues to retain the franchise’s life support through his blend of slapstick comedy and reality cringe, as well as the faithfulness to the source material he created.  It was hard to imagine “Jackass” without Jeff Tremaine on board, given his experience with reality stunts, and “Best and Last” effortlessly proved this case further.

But what about the stunts they performed for the movie?  Well, as usual, they’re not only hysterical but also great reminders of how happy I am for not being as dumb as they are.  But, like the previous “Jackass” films, I have my personal favorites that I liked more than others.  Besides the “Silence of the Lambs” prank, I really enjoyed the “Dum Dum Game Part Deux” skit because of the “consequence” for getting an answer wrong.  The “Escape Room From Hell” stunt was also very funny, mainly because of the ending and the multiple heels slamming onto the person’s wiener.  It’s hard to imagine him taking a number one from all the damage that’s been done to his doodle.  Regarding the ones that I didn’t enjoy, it was tough to decide since I was having too much fun watching the cast do plenty of stupid stuff on camera.  If I were to choose, I would pick the “Pole Vault” stunt as the most forgettable.  It’s just a pole vault performed by a naked person, nothing too special about it.

Overall, “Jackass: Best and Last” offers one last hurrah for the Jackass crew with a “best of” compilation that’s both hysterical and even bittersweet.  This is another series of hilarious, extremely dangerous, and delightfully wince-inducing stunts we come to expect from the popular franchise that was initially seen as “too much” for television.  While it may not be worth the price of admission to rewatch certain moments they can revisit for free, the newer stunts and pranks showed that Johnny Knoxville and his team haven’t lost their touch in making audiences wince constantly or maybe even puke if they’re lucky.  Much like its predecessors, this movie isn’t suited for everybody, particularly those with weak stomachs and people who are appalled by their stupidity.  But for fans of the series and those in need of some dumb laughs, this is a fitting and entertaining farewell to one of the most daring reality shows to ever air on national television.  I may not be a massive fan of “Jackass” like everybody else, but I am glad I gave myself a chance to experience it before it concludes.  That is, unless they decide they have enough energy to keep going, but given Knoxville’s condition after the “Magic Trick” stunt from the previous film, I highly doubt it.  But hey, it was fun (and painful) while it lasted.

​“Toy Story 5” stars Tom Hanks, Tim Allen, Joan Cusack, Conan O’Brien, Scarlett Spears, Greta Lee, Shelby Rabara, Mykal-Michelle Harris, and Craig Robinson.  Released on June 19, 2026, the film has Woody and the toys confronting the rise of technology, including an electronic tablet.

The film was directed by Andrew Stanton, who co-directed “A Bug’s Life” with John Lasseter.  He’s also known for directing “Finding Nemo”, “WALL-E”, “John Carter”, and “Finding Dory”.  It is the fifth main installment in the “Toy Story” franchise.  Does everyone remember the good old days when our only form of playtime was with our toys?  I remember those moments, too, especially ones where we watch our kids play with them using their imaginations.  Who doesn’t love pretending to be a spaceman or stirring up some drama with our Barbies and Kens?  Unfortunately, thanks to the rise of technology, particularly cell phones and iPads, those moments were all but distant memories.  Right now, today’s kids would rather look at a screen for endless hours than play with their former favorite figures and stuffed animals.  It’s a sad reality to live in, mainly when artificial intelligence has been one of the biggest topics for quite a while.  However, it does leave one to argue whether our past playtimes can actually co-exist with modern technology.

This serves as the concept of the latest chapter in Woody and the gang’s coming-of-age journey that should’ve ended as a trilogy.  But you know us.  We simply couldn’t get enough of those charismatic toys, especially our own children.  Obviously, there’s a good reason for it.  The “Toy Story” films are pinnacles of the animation department that paved the way for CGI to thrive in the industry, for better or worse, and they also shaped Pixar as one of the most successful studios in the business, in both presentation and storytelling.  More importantly, they’re generational cinematic pieces that audiences, young and old alike, can enjoy and cry over repeatedly because of their thematic depth and emotional weight.  They’re experiences that show the characters undergoing different changes in life, similar to how we see them, underscoring the movies’ lasting impact in their narratives, not just the animation.  This latest continuation is no exception, as the toys confront another major change that could mean the end of playtime forever.  Does this sequel retain the charm and emotional depth of its predecessors, or is it time for Pixar to put its toys back in the chest for good?  Let’s find out.  

The story is set after the events of “Toy Story 4”.  Jessie (Cusack) has assumed the role of leader of the toys in Bonnie’s (Spears) room, while Woody (Hanks) stays with Bo Peep (Annie Potts) to help abandoned toys find owners.  As Jessie and Buzz Lightyear (Allen) attempt to fill Woody’s shoes, their goal of helping Bonnie make new friends hits a snag upon the arrival of her new favorite plaything, a frog-like tablet named Lilypad (Lee).  As Bonnie spends more time on Lilypad, the toys are left with no amount of playtime, facing the threat of being donated or worse.  This led them to call upon Woody to return and help them deal with Lilypad, resulting in another journey in which Jessie confronts her past.

It bears repeating that “Toy Story” has been a pinnacle of my life ever since I saw “Toy Story 2” in theaters back in 1999.  These films not only reminded me of the joy and imagination I had while playing with my own toys, but also made me feel as if I were growing up with these toys myself, from a storytelling and emotional perspective.  Looking back at them now, they’re still some of my favorite animated films for their characters, animation, storytelling, and mature themes, particularly “Toy Story 3”.  While I can agree that the franchise should’ve ended with the third film, it retains the rarity of delivering consistent quality that warrants the toys’ return, as is evident in “Toy Story 4”.  Some of us may not enjoy “Toy Story 4” as much as others, but I was part of the group that actually loved it.  Not as much as I did for the first three films, but great enough to admire the care and effort put into its world-building and themes.  So, it left me wondering whether “Toy Story 5” could replicate this success, especially since it now deals with our current predicament regarding children’s playtime: technology.

The aspect I loved most about the franchise, especially the sequels, is that it provided narratives that seem simple on paper but are actually more well-rounded in their themes.  When you thought it went in one direction, they took an immediate turn that makes their approach not only earned but also thematically resonant with kids and even adults.  Even after rewatching the first four films, these stories still feel rewarding for how they showcase their characters' growth, especially Woody's.  With “Toy Story 5”, Andrew Stanton and Kenna Harris were given the daunting task of retaining that timeless formula for its technological concept without telling audiences that “tech is bad”.  Given our strong attachment to cell phones, tablets, and video games, representing this concept may not be as straightforward as it appears, due to concerns about seeming preachy or “anti-technology.”  Thankfully, they managed to accomplish that mission almost flawlessly, emphasis on the “almost”.  Even with the understandable argument of its existence, “Toy Story 5” shows that the term “franchise fatigue” isn’t enough to pull the plug on its playtime anytime soon.

Now, what do I mean by “almost flawlessly”, you may ask?  Well, to put it bluntly, it is still another great sequel that highlights the franchise’s thematic resonance regarding change and purpose from a toy’s perspective.  In this case, we have toys facing the possible end of their time as children stare at screens all day long, raising the question of how they would adapt to this evolution of playtime.  Even though I thought all five movies were fantastic for various reasons, including the fourth one, believe it or not, I can see that they’re also far from perfect.  “Toy Story 5” is no different, particularly for its structure.  If I were to name a couple of issues that kept it from being another perfect sequel, it would be the pacing and the character roster.  The first act of “Toy Story 5” galloped as fast as Bullseye, hoping to get to the “toys vs tech” dilemma straightaway.  On the one hand, it helps draw kids’ attention away from their own screens, and it offers giggle-worthy humor stemming from the characters and Bonnie’s imagination.  On the other hand, it can get a bit too speedy, leaving little time for a cooldown to appreciate the depth of its visuals and character moments.  But hey, it’s a movie for families involving talking toys, so it’s not a big deal for me as long as the story is good, which it was.

Another element worth pointing out is the character roster, mainly for the toys.  The “Toy Story” films have been known for introducing new characters in each installment.  We got Jessie and Bullseye from “Toy Story 2”, Bonnie’s toys in “Toy Story 3”, and Forky (Tony Hale) in “Toy Story 4”.  “Toy Story 5” introduces audiences to the tech toys: Lily, Smarty Pants (O’Brien), Snappy (Rabara), and Atlas (Robinson).  There’s also an army of malfunctioning high-tech Buzz Lightyears that may seem like pointless filler akin to the Minions until the third act.  It has all these toys under the same cinematic roof, especially those introduced in previous installments.  The problem is that there were too many of them to keep track of.  Some of the older side characters, including Dolly (Bonnie Hunt), Rex (Wallace Shawn), and the Potato Heads, were pushed aside to focus more on the main characters.  Heck, even Woody’s role was reduced to highlight Jessie’s role as the “sheriff”.  He’s basically there because he’s one of the main faces of the franchise.  While some characters do have their moments, I feel like the story wouldn’t be affected if they were removed from the script or given more to do.  At least have Bo Peep rejoin the gang on this adventure.

But as I said, even with those small issues, I really love “Toy Story 5”, not just for its storytelling and visuals, but also for the relatability of its characters and themes.  One aspect that’s worth noting about the premise is that “Toy Story 5” is Jessie’s movie.  With Woody helping Bo find more abandoned toys, the movie gets its due by focusing more on Jessie’s arc, which began in the second film.  Long story short, I thought Jessie was one of the best parts of “Toy Story 2” regarding Joan Cusack’s delightful performance and the character’s poignant past.  “Toy Story 5” brings everything full circle regarding her past, resulting in a very satisfying and genuinely heartwarming closure she deserves, especially for those who grew up with Jessie.  Joan Cusack continues to convey the character’s well-rounded personality through her effective vocal performance in this movie.  However, there were a few moments when her voice started to wear itself out compared to the spunky energy she delivered in its predecessors.  Besides that, Cusack’s charismatic performance remains one of the reasons I appreciate Jessie as a character, especially given her background.

It also helped that her journey blended well with its relevant themes, which both kids and adults can understand.  The screenplay of “Toy Story 5” explores the relatability of children’s excessive screen time on their phones and tablets and how technology has impacted the existence of toys.  However, it’s not technically about the dangers of children's reliance on tech; rather, it uses that aspect to convey its true message: the power of human connection.  Rather than just exposing the bad parts of technology, “Toy Story 5” addresses both the good and the bad aspects of technology's role in helping people make new friends.  It displays that connection matters when it happens to be the right friends they choose, as evidenced in Bonnie’s arc.  Stanton and Harris have crafted a worthy script that handles these tough topics with wit and warmth, without making them uncomfortable for younger kids or too preachy for adults.  At the same time, it retains the usual charm, heart, and emotional resonance the franchise is known for, even if it doesn’t reach the heights of its predecessors, especially 2 and 3.  It’s this type of balance that identifies the “Toy Story” films as family movies and even animated treasures that people of all ages can enjoy, and “Toy Story 5” is clever enough to be a part of this group.

Regarding the voice cast, almost all the actors from the previous films have returned to reprise their roles, including Tom Hanks and Tim Allen.  However, the movie also left enough room for the newcomers to shine, which is enough to excuse the film’s stuffed lineup.  I already mentioned that Joan Cusack did another great job with her role as Jessie, despite her voice sounding exhausted at times.  Another actor worth noting is Greta Lee, who went from confronting the Grid to voicing an electronic frog-like tablet following her breakout role in “Past Lives”.  This is a much-needed improvement over her underwhelming performance in “Tron: Ares”, as Lee effectively portrayed Lily’s antagonistic, snarky persona through her range.  I would even say that Lily is comparable to Anxiety from “Inside Out 2” in terms of their respective roles in helping their humans.  Conan O’Brien also made a strong impression on me with his performance as Smarty Pants regarding his toilet humor.  It’s another instance where potty humor in a kids’ movie is actually amusing rather than forced or cringeworthy.  I may not watch O’Brien much on his late-night shows, but I respect him for knowing how to bring his brand of humor to his cinematic roles.  I would also credit Scarlett Spears for bringing humanity and spunkiness to Bonnie’s arc through her vocal performance, especially in that one scene where I wanted to jump on the screen and hug her.  I’m pretty sure you’ll feel the same way when you watch it yourself.  By the way, Spears also played young Glinda in “Wicked: For Good”—just a fact to share for all of you “Wicked” fans out there.

Finally, we have the film’s animation.  There’s no doubt that the “Toy Story” movies shine for their animation, blending realism with childlike imagination.  But it’s also worth noting that the animation for the franchise has come a long way since the first film.  Like, the difference is largely noticeable.  Anyway, the animation in “Toy Story 5” looks just as beautiful and vibrant as in the other installments, but it shines most in the playtime sequences.  These scenes switched up the presentation by foregoing the real-world elements in favor of a more watercolor-like, imaginative approach that combines 2D with CGI.  In a way, they uniquely capture the imagination of playtime as if we’re seeing it from a child’s perspective, especially Bonnie’s.  The animation in “Toy Story 4” still looked the best in terms of shading, lighting effects, and scope.  Despite that, “Toy Story 5” truly understands how a child’s mind functions when they’re playing with their favorite toys, especially when the studio makes the most of different styles.

Overall, “Toy Story 5” keeps the beloved animated saga fully charged with a sequel that explores the “toys vs. tech” premise with wit, heart, and relatability.  While initially seen as a difficult task to accomplish, especially with its “franchise fatigue”, the film turns out to be another rare occurrence where its continuation outside a franchise’s true conclusion is more rewarding than unnecessarily drawn out.  Andrew Stanton and Kenna Harris not only kept the spirit of “Toy Story” alive through its charm and massive heart but also delivered a smart and genuinely emotional reflection on human connection amid the modern age of technology.  Its abundance of characters and some rushed moments kept it from matching the similar heights of its predecessors.  Besides that, the quality of the “Toy Story” brand remains supreme, which is enough to keep its batteries from dying out too soon.  Regarding its voice cast, great animation, thematic weight, and captivating emotion, the film shows that cinematic playtime has evolved in the best way.

​“The Furious” stars Xie Miao, Joe Taslim, Yang Enyou, Jeeja Yanin, Brian Le, Joey Iwanaga, and Yayan Ruhian.  Released at the Toronto International Film Festival on September 6, 2025, and followed by a United States and Hong Kong release on June 12, 2026, the film follows a handyman who teams up with a journalist to rescue his daughter.

The film was directed by Kenji Tanigaki, an action choreographer and stunt performer who also directed “Legend of Seven Monks” and “Enter the Fat Dragon”.  It’s sad that criminals never learn the consequences of harming or kidnapping the loved one of an individual.  Sure, this person may seem harmless based on their appearance, but that doesn’t make them any less dangerous.  It’s what makes their punishments so satisfying, especially when that ordinary person turns out to be a butt-kicking machine who’ll stop at nothing to avenge or retrieve those they care about.  The cinematic world has always proved time and again that this action-paced concept never fails to deliver the nonstop thrills and intense choreography stemming from a protagonist’s rescue mission.  Of course, I’m not just talking about the ones made in Hollywood.  I’m also referring to the film industry in international countries, particularly Hong Kong, where they develop high-octane action movies that pull no punches in their choreography and violence.  This latest blood-soaked thrill ride from stunt performer/filmmaker Kenji Tanigaki is no different, as it highlights a tough-as-nails rescue mission formed by an ordinary duo who are anything but.  Was it furious enough to deliver a white-knuckled, merciless treat for action fans?  Let’s find out.

The story centers on Wang Wei (Miao), a mute handyman living in a Southeast Asian city with his daughter, Rainy (Enyou).  One day, Wang discovers that Rainy has been kidnapped by a ruthless gang of criminals responsible for the disappearances of many children, prompting him to set out to rescue her.  He also joins forces with a journalist named Navin (Taslim), who’s searching for the same group of kidnappers responsible for taking his wife.  They infiltrate the criminal underworld, where they confront the toughest thugs in the country.  Fortunately, Wang and Navin are far from ordinary, as the duo possesses skills that are as dangerous as they are, which they’ll use to survive and rescue their loved ones.

I have an undeniable soft spot for action movies, but seeing those made in other countries, including Japan and Indonesia, is a completely different story.  Yes, they follow similar narratives to those we usually get from Hollywood, but they also have one aspect that sets them apart from traditional American ones: the choreography.  There’s just something about it that makes almost every scenario feel more authentic and intense as opposed to modern action blockbusters.  These movies make me feel every punch, kick, bash, crack, and slash generated from people’s bodies as if they were the real deal.  They’re extremely painful to watch, but they’re also filled with the satisfaction of watching the relentless storm of flying fists unfold on the screen.  I applaud not only these international action movies for standing out from the genre crowd with their gruesome violence and choreography, but also the stunt performers, who went through hell and back to pull off these dangerous stunts.  

That alone was the main reason why I had been anticipating “The Furious”.  Right after watching the film’s trailer, I immediately knew that it would be on my list of must-see movies of the summer.  It’s got pretty much everything I would expect from an international action thriller, such as ruthless choreography, a grounded, gritty tone, and some of the biggest names in the cinematic martial arts industry, including Joe Taslim.  But what matters the most is whether these elements would be enough to carry its straightforward narrative and grisly appeal.  Don’t get me wrong, I’m all in on the relentless action and stakes.  In fact, they’re some of the things that keep me engaged.  It’s that in most action movies, the violence shown can only take them so far if their plots don’t have enough heft to warrant people breaking their bones or worse.  Fortunately for me, “The Furious” offers more than enough in its familiar narrative to elevate the explosive violence depicted onscreen.  It’s brutal, relentless, wild, and consistently satisfying in its action and heart, all of which equate to the most fun I had this year, action or otherwise.

The plot is, unsurprisingly, straightforward, akin to “Taken,” if "Taken" stars Liam Neeson as a silent protagonist whose fists move faster than the Road Runner.  You have a man attempting to be a better father to his daughter, and he gets the chance to do so by rescuing her and beating the crud out of the kidnappers.  It also features an unlikely partnership between Wang and Navin, who seek different kinds of justice: Wang, fueled by his love for Rainy, and Navin, by his determination to expose the organization’s heinous crimes.  The elements are on the wall, clear as day, but its strong execution helps keep its tropes from taking too much of a beating.  The story is not only constantly exciting, well-paced, and fun, but it also infuses plenty of heart, making its butt-kicking duo worth rooting for.  Even amid its familiar outcome, it’s always crucial to make the characters compelling enough in their backgrounds to match the intense stakes it sought to portray.  “The Furious” is another solid example of this case, particularly in its “less is more” approach for Wang and Navin.  Besides its familiarity, my only issue with its script is that the English dialogue was pretty iffy in most cases.  It didn’t distract me from the white-knuckled journey too much, though it can be a problem for those who prefer characters speaking in different languages.

Now, I’m sure you only checked out my review to read my thoughts on the film’s action scenes, and I always deliver on those promises.  The action was seen as the main highlight of “The Furious”, especially when it comes to the insane choreography.  I was a little concerned at first that these scenes might not live up to the hype they built, and I’ve seen plenty of movies that were similarly designed, including “The Raid”.  But after watching the movie, I felt nothing but relief and happiness that the action lived up to the movie’s title.  It’s downright furious in the best way.  The action sequences are ferocious, savage, and bone-crushingly intense, especially in their brilliant choreography, which highlights the fast-paced dynamics of the combat and the props they use to deliver wince-inducing pain.  They’re also framed very well by Meteor Cheung’s cinematography, and the third act?  Ooo, boy.  You won’t be prepared for what the third act brings to the table.  Given Kenji Tanigaki’s skilled direction and the scenario's fierce nature, the finale is a bloody, fist-flying Battle Royale that’s also one of my favorite sequences in the action genre.  Its runtime may feel like overkill due to its gritty, repetitive structure, but the pacing and dynamic tension ensure that every minute of this violent mission is earned.  It’s moments like this that make me glad I support these types of action films and even the stunt people behind them.  They'd better get good paychecks for these crazy and painful stunts they’ve endured.

Xie Miao was someone I wasn’t familiar with until I saw him in action in “The Furious”.  Not only were his martial arts skills incredible to watch, but his acting between the beatdowns was pretty good, too.  Miao was tasked with injecting emotional heft into a protagonist whose actions speak louder than words.  Wang is another character who doesn’t speak throughout the entire movie, leaving the actor to convey their emotions through facial expressions and choreography.  The result is far from perfect, but it is nonetheless an engaging and even heartfelt display of talent, showcasing Miao as both a lean, mean fighting machine and a confident actor.  Another actor worth noting is Joe Taslim, who’s one of the cast members I recognize the most, particularly for his appearances in modern Hollywood movies like “Fast & Furious 6” and the “Mortal Kombat” reboot.  He was also Sergeant Jaka in “The Raid”, another international action movie I really enjoyed.  Taslim made a solid impression on me as a martial artist and actor based on the previous roles he took, and I’m happy to see that his performance as Navin is no different.  As Miao did for Wang, Taslim effectively conveyed his character’s determination for justice, with his background adding a touch of emotion to underscore his personal journey.  Additionally, Yayan Ruhian from the “Raid” movies and “Boy Kills World” makes an appearance as the bow-wielding Tak, and he was once again fierce with his choreography.  You can say that Robin Hood wished he could move as swiftly with a bow and arrow as he did.

Overall, “The Furious” lives up to the name with a fierce, bone-crushing, and highly entertaining action bonanza that’s furious enough to stand alongside the genre’s other violently satisfying hits.  While its plot is basically “Taken” meets “The Raid”, director Kenji Tanigaki makes the most of its similar premise by delivering some of the best, most brutally inventive action sequences ever put on film.  More importantly, they’re effectively combined with an engaging narrative that offers enough heart in its characters to fight past its noticeable tropes with ease.  Its English dialogue does come off rough at times, especially in the way it’s delivered by its supporting cast.  Besides that minor flaw, this is another great reason why international martial arts films stand out in the genre compared to those made in traditional Hollywood.  Heck, I would even be quick to call it one of my favorites in the genre.  In terms of its main leads, Tanigaki’s dynamic direction, incredible action scenes, and compelling narrative tropes, the film has the right fury to stand out from the Hollywood summer blockbuster crowd.  If you enjoy these types of movies, especially “The Raid”, this relentless, bloody-knuckled venture is worth your attention.