'Toy Story 5' review: Pixar's latest is a thoughtful exploration of children and technology

Courtesy of Disney/Pixar

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Pixar’s flagship series proves it still has life left in it with “Toy Story 5,” a surprisingly thoughtful and emotionally grounded sequel that doubles as a soft reboot after the uneven and, for many, unnecessary “Toy Story 4.” Where that film struggled to justify its existence following the near-perfect closure of “Toy Story 3,” this installment restores a sense of purpose. It not only finds something meaningful to say in 2026, but says it with clarity and conviction. More importantly, it avoids the hollow feeling of a brand extension. This is not a cash grab. It is a film that understands why this franchise mattered in the first place and recalibrates itself accordingly.

At its core, “Toy Story 5” grapples with a timely, quietly unsettling idea: how children’s relationships with toys, and with each other, have been reshaped by screens, social media, and the pressure to belong. The film frames this not as a scolding critique of technology, but as an observation about how malleable childhood has become. Pixar has always excelled at translating big existential anxieties into accessible storytelling, and here it returns to that strength. The result is a movie that feels both intimate and culturally aware, reconnecting the emotional DNA of the series with a modern reality. It is a return to form for the series, putting our favorite characters, Woody, Buzz Lightyear, and, more importantly, Jessie, front and center as they once again face down an existential crisis. 

Director Andrew Stanton goes back to the formula that works, layering in a slew of new, genuinely lovable characters, notably Conan O’Brien in what might be Pixar’s best comedic performance since Sadness in “Inside Out.” At the same time, the film engages with pressing issues, emphasizing the shared experience of existing in a physical space with another person and the value of human interaction at a time when screen time threatens to erode it. In a way, it subtly shifts the reflection onto parents and how children develop social skills, reinforcing a theme that “Toy Story” has always circled. This outing captures that idea with more clarity than recent entries. It’s thoughtful and funny in all the ways Pixar does best, and if you think you’re leaving the theater without tissues, have you ever seen a “Toy Story” movie?

The action, similar to “Toy Story 4,” centers on 8-year-old Bonnie (Scarlett Spears), who is dealing with her own pre-tween crisis: trying to make friends. She’s upset and lonely, noticing that other kids are glued to their devices and have all but abandoned toys. When Jessie, once again voiced by the irreplaceable Joan Cusack, goes searching for answers to help Bonnie, she discovers just how widespread that shift has become. She and Bullseye hilariously stumble into a toy graveyard, followed by a striking wide shot of every kid in the neighborhood either watching TV or sitting in the same rooms without actually talking to one another. It’s a sharp and slightly eerie image, and it reinforces the idea that this isn’t just Bonnie’s problem. It’s everywhere. It’s almost a miracle Jessie and her cohorts have held out this long.

That changes when Bonnie’s parents, worried about her lack of connection with other kids, buy her a Lilypad (voiced by Greta Lee), a one-size-fits-all device that effectively feels like the final nail in the toy coffin. The introduction of Lilypad is a little on the nose, but it clearly defines the stakes. Jessie feels the weight of that shift immediately and calls on her old pal Woody (Tom Hanks). By the time he arrives, Bonnie hasn’t played with the gang in weeks. It’s do or die, and for once, that urgency feels earned rather than manufactured.

Things only get worse when Bonnie attends a sleepover with friends from dance class and is made fun of for bringing toys. Jessie and Bullseye are left behind in the chaos and inadvertently end up at a farm outside of town, one that connects back to Jessie’s past with her former owner Emily. The mechanics of how they get there don’t really hold up to much scrutiny, but this is a movie about anthropomorphic toys, and the emotional logic of returning Jessie to a setting that echoes her past helps smooth over those bumps.

At the farm, Jessie encounters a range of new characters, none more memorable than Conan O’Brien’s Smarty Pants, a toilet-training gadget living among the outdated toys owned by Blaze (Mykal-Michelle Harris), a farm girl who quickly takes in Jessie and Bullseye. Smarty Pants is a standout, pushing potty humor to new heights while still fitting into Pixar’s tradition of layered supporting characters. He comes across like a washed-up, half-functional recluse when low on batteries, and his running gags land consistently. O’Brien brings a manic, unpredictable energy that makes the character feel alive while still giving him just enough depth to tie into the film’s larger ideas about obsolescence and connection. He’s also probably the biggest reason “Toy Story 5” earns its PG rating.

Meanwhile, there’s a subplot involving a group of high-tech Buzz Lightyears (voiced by Tim Allen) who wash ashore after a cargo container crash. At first, their side mission feels slightly disconnected, but it gradually folds back into the main story in a satisfying way. By the time everything converges, their presence helps build toward a climactic moment that rivals “Toy Story 2” in terms of scale and ambition.

Still, this is ultimately Jessie’s movie, and that focus is what gives it its emotional backbone. She’s given more room to breathe here, exploring her own sense of purpose and identity in a world that increasingly leaves toys behind. Her journey feels introspective without losing momentum, and it adds more weight than the parallel storyline of Buzz and Woody dealing with Lilypad back home. Everything ties back to Jessie trying to understand what it means to still matter.

It’s hard not to view “Toy Story 5” through the lens of a franchise that may never truly ride off into the sunset. The film even pokes fun at that idea, with jokes about Woody aging, balding, and putting on a little weight. There’s an awareness here that this story has been extended far beyond what once felt like a perfect ending. And yet, despite that, this installment works.

Today’s kids deserve their own version of this story, and if each new chapter can be as sharp, funny, and quietly insightful as this one, then maybe “Toy Story” can keep going. Not endlessly, but meaningfully. And for now, that feels like enough to go to infinity and beyond.

Grade: B+ 

TOY STORY 5 opens in theaters Friday, June 19th.