Toy Story 5 (2026)

Dir: Andrew Stanton

Cast: Tom Hanks, Tim Allen, Joan Cusack, Conan O’Brien, Scarlett Spears, Greta Lee, Shelby Rabara, Mykal-Michelle Harris, Craig Robinson, Alan Cumming, Annie Potts, Bonnie Hunt, Tony Hale, Wallace Shawn, John Ratzenberger

“Toy Story 5” brings back the humour and charm that made us fall in love with the franchise, but much like its immediate predecessor, it gets bogged down by too many new faces and tangled subplots, leaving less room for the toys we truly care about

As a nineties kid, I grew up hand in hand with the “Toy Story” franchise. The first film arrived in the UK when I was just two, and I found myself growing up alongside Andy, the toys’ original human owner, as he forged unforgettable bonds with his beloved toys. Woody, Buzz, Jessie, and the rest were more than just characters—they were woven into the fabric of my childhood, just as they were for so many others my age. When they bid their tearful farewells to Andy in “Toy Story 3” (2010), Pixar sealed the trilogy’s place as a cinematic legend.

When “Toy Story” burst onto the scene in 1995, Disney was already ruling the animation world, scooping up awards and box office glory year after year. But Pixar’s revolutionary computer animation changed everything overnight, reshaping the industry for generations. While Pixar may not command the same dominance it did two decades ago, it still captures the hearts of young viewers, and nostalgia keeps older fans coming back for sequels like “Incredibles 2” in 2018. Few expected “Toy Story” to return after its perfectly wrapped ending in 2010, so when a fourth film arrived in 2019, fans were understandably wary.

Though “Toy Story 4” stands tall among modern Pixar films, dazzling with emotion and stunning animation, it lacks the simplicity and charm that made the original trilogy so special. On its own, it’s a solid introduction for new fans, but after seven years, I struggle to remember much about it. Its tangled plot left little lasting impact, making me question whether it truly needed to exist.

As Disney and Pixar’s original films have struggled to make waves at the box office lately, it’s the sequels like “Inside Out 2” (2024) and “Zootropolis 2” (2025) that keep the studio afloat. So, another “Toy Story” instalment felt inevitable, even if fans doubted it could bring anything new to the beloved saga.

Fuelled by a massive marketing push and eager fans, the film was destined for box office glory—and it delivered, smashing records with over $300 million in just days. I managed to see “Toy Story 5” on opening day, dodging spoilers and reviews in hopes of recapturing the magic of earlier films. While the familiar charm, humour, and thrill of reuniting with Woody and friends were present, I couldn’t shake the feeling that this fifth chapter was an unnecessary cash grab that failed to earn its place.

The core message of “Toy Story 5”—how kids are becoming less interactive and more absorbed by iPads, social media, and online games—is intriguing but feels a bit stale. This is still a pressing issue in 2026, but it seems like a conversation the franchise should have started years ago. That being said, what truly stands out is the introduction of “Lilypad” (Greta Lee), a quirky, frog-like tablet who quickly becomes Bonnie’s favourite, effectively condemning her cherished toys to the garage.

After Woody’s heartfelt farewell and Bonnie’s childhood shift at the end of “Toy Story 4”, Jessie (Joan Cusack) steps up as the new sheriff in Bonnie’s room, with the smitten Buzz Lightyear (Tim Allen) loyally at her side as deputy. Fearing their days of play are numbered, the gang embarks on a mission to find Bonnie a friend she can truly connect with—someone who will play with her the old-fashioned way. Meanwhile, Lilypad unwittingly exposes Bonnie to older girls who mock her for still loving toys, threatening the magic of childhood.

I may have some reservations here, but don’t get me wrong—it’s not all doom and gloom for “Toy Story 5”. The film dazzles with inventive animation, blending different styles to bring Bonnie’s imagination to life. There are plenty of clever visual gags, solid worldbuilding, and meaningful messages. Although it’s unlikely anyone will outright dislike this entry, few will rank amongst the best in the series. The movie delivers some strong emotional moments, but Pixar’s attempt to juggle too many storylines leaves the deeper themes tangled and less powerful. The real breath of fresh air is Jessie finally taking centre stage. Introduced way back in “Toy Story 2” twenty-seven years ago, the cowgirl at last steps out of Woody and Buzz’s shadows. We dive deeper into her bond with Bullseye and revisit her history with her former owner, Emily, which becomes a pivotal part of the film’s second act.

Yet Jessie’s journey of closure and growth is constantly interrupted by a rescue mission subplot, with Woody and Buzz searching for her after she goes missing during one of Bonnie’s sleepovers. Layered on top is Bonnie’s own struggle with online bullying and social challenges—a storyline that, while relatable for today’s kids, feels oddly out of place in a series that has always focused on the toys. Bonnie ends up with more dialogue and screen time than any human character before her.

Then there’s the film’s most unnecessary subplot: a shipment of modern Buzz Lightyears searching for Star Command. Introduced right at the start, this thread keeps popping up, only to collide with the main story with little payoff. It’s a clear sign the film is juggling too much, especially when these new Buzz toys get more screen time than classics like Hamm, Rex, Slinky, Mr. Potato Head, and even Forky—the funniest addition from the last film. Many beloved characters, including Bo Peep, Duke Caboom, and most frustratingly, Woody, are side-lined. Reducing Woody, the heart of the series, to a mere plot device and the victim of old man jokes not only adds little to the story but also undermines his emotional farewell in the previous film.

Despite an already crowded cast, Pixar boldly adds even more toys as Jessie encounters outdated tech like Smarty Pants, Snappy, and Atlas. While these newcomers—especially the hilarious potty-training Smarty Pants excellently voiced by Conan O’Brien—have their charm, their presence pulls us further away from the classic toys we’ve cherished for three decades.

It might seem like I’m focusing on the negatives with “Toy Story 5”, and narratively, I think that’s fair. My disappointment stems from knowing just how magical this franchise can be, and how deeply I care about these characters. Watching them get sidelined feels like seeing old toys thrown in the bin. This isn’t a bad film—kids and new fans will surely enjoy it—but the spark and heartfelt simplicity have faded for me since Andy’s farewell sixteen years ago. Maybe it’s time for Pixar to make the brave decision and give its iconic series the final send-off it deserves – and sticking with it this time.

Toy Story 5 is now showing in UK Cinemas

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