Paul Brunick dissects Armond White on Toy Story 3

By my count there are about three declarative statements in this entire piece that are not categorically inaccurate. The rest is a seething tissue of factual errors, self-negating examples, glaring elisions, logical inconsistencies, specious industrial analysis, mystifying rhetorical constructions and basic grammatical errors. It speaks for itself. As White's critical hero and much invoked "mentor" Pauline Kael once said in an interview, "No one should trust any critic who does not take the art form he is writing about seriously enough to write a decent paragraph. I simply do not trust the observations of people who write sloppily or in illiterate hyperbole."

This is exactly the kind of precise, clinical evisceration White has deserved for a long time. It should be bookmarked and simply trotted out every time White publishes another screed.

 

A.O. Scott on Toy Story 3

In providing sheer moviegoing satisfaction — plot, characters, verbal wit and visual delight, cheap laughs and honest sentiment — “Toy Story 3” is wondrously generous and inventive. It is also, by the time it reaches a quiet denouement that balances its noisy beginning, moving in the way that parts of “Up” were. That is, this film — this whole three-part, 15-year epic — about the adventures of a bunch of silly plastic junk turns out also to be a long, melancholy meditation on loss, impermanence and that noble, stubborn, foolish thing called love. We all know money can’t buy it, except sometimes, for the price of a plastic figurine or a movie ticket.

So damn excited for this flick. Next weekend!

(by the way, if you pass a Lotso-Huggin' bear at a Target or something, take a moment to listen to its voice clips. Pretty hysterical.)