Review: 'Toy Story 5' Shows Pixar Still Operates on Another Level

Pixar pulls it off again with a sequel seven years after 〈Toy Story 4〉. Released June 17, 〈Toy Story 5〉 is the latest entry in Pixar Animation Studio’s flagship series 〈Toy Story〉. This review is based on a press screening held June 11.

The 〈Toy Story〉 series has already dealt with farewells in both its third and fourth films. The fifth film puts that fear of separation at the center, framing it around changes that have arrived early with the times. 〈Toy Story 5〉 follows Jessie’s journey to find a friend who will play with Bonnie after Bonnie grows distant when she gets the smart device LilyPad.

Where earlier entries in the 〈Toy Story〉 franchise leaned on toys to trigger nostalgia, this fifth film reflects the present more directly. Children have grown accustomed to screens rather than toys, and can even form “friends” without meeting in person. But that reality isn’t convenient for everyone. Imaginative Bonnie prefers toys to the LilyPad, yet she dives into the LilyPad to keep pace with her peers.

Here, 〈Toy Story 5〉 takes on two themes. One is the toy that lives in an era when play no longer matters as much; the other is the child who grows up in that era. Just as 〈Inside Out 2〉 paired Riley’s coming-of-age with the arrival of new emotions, 〈Toy Story 5〉 weaves Bonnie’s relationship struggles into Jessie’s journey and captures the child’s growth. In doing so, Bonnie is portrayed as moving at a different pace than other kids, which can feel like solace for outsiders in the same way Pixar’s previous films 〈Luca〉 (2021) or 〈Elio〉 (2025) offered comfort to misfits. Because of that, even with almost no adults on screen, Jessie’s and Bonnie’s narratives make the film engaging for adult viewers as well.

Shifting the narrative focus to Jessie also proves effective. The film launches into Jessie’s past — briefly shown in the second film — to start its main story. True to her antique-toy nature, Jessie has watched several owners grow up. By fleshing out that background, the film makes Jessie’s sensitivity to Bonnie’s sudden change believable. Linking Jessie’s past and present shows how powerful childhood memories can be and prompts viewers to reflect on the value of all the bonds we form, not just those tied to toys.

Above all, the film revives a view of play that the series had briefly set aside while concentrating on its characters. As Jessie says in the movie, “It’s not a game, it’s play.” We now live in an era where games often replace play — making friends and building friendships through games is commonplace. But play is also about stretching your imagination and discovering what you enjoy. 〈Toy Story〉 once again highlights the joy and benefits of that kind of play.

There are, of course, drawbacks. At times, the film’s view of play can feel as if it looks down on children who do not enjoy it. Also, because electronic toys — positioned between smart devices and traditional playthings — feature prominently, the classic toy characters’ roles feel somewhat muted compared with the previous installment. While the narrative and emotional arcs produce many memorable moments, other scenes feel like revivals of the series and lack truly striking sequences. The film opens with a scene in which the Buzz squad assembles, and while the Buzz squad delivers laughs and plays a key role in the plot, their presence often feels detached from the movie’s core themes and can make the film feel scattered.

〈Toy Story 5〉 rewards the seven-year wait. Yet, viewed in the context of the series’ trajectory, it has notable shortcomings. Rehashing once-neatly-contained narratives and rendering the smart device-versus-toy divide in a somewhat crude binary will divide viewers. Still, the emotional sensibility the 〈Toy Story〉 franchise has carried and the characters’ buoyant chemistry remain satisfying. Head to theaters on June 17 to see Jessie, Buzz and Woody.

* There is one post-credits scene after the main end credits. Around the time the end credits finish, there is also a brief gag. The first extra scene is worth watching as an extension of the film, while the second is not essential.