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- Review count61
- Helpfulness votes11
- First reviewJuly 23, 2018
- Last reviewMay 26, 2023
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- Average rating4
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- First answerFebruary 18, 2020
- Last answerFebruary 18, 2020
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![Toy Story 3 [SteelBook] [Includes Digital Copy] [4K Ultra HD Blu-ray/Blu-ray] [Only @ Best Buy] [2010]](https://pisces.bbystatic.com/prescaled/500/500/image2/BestBuy_US/images/products/304b2327-370a-41e7-956a-951dd4939472.png)
Customer Rating
5
Beautiful & Heartbreaking
on January 28, 2020
Posted by: VandyPrice
Verified Purchase:Yes
I bought this steelbook version to complete the steelbook collection alongside the newly released Toy Story 4, but the Ultra HD Blu-Ray picture quality is more than worth the upgrade. Of course, this thought to be trilogy-capper is also a fantastic film in its own right. I was re-watching it with my five year-old daughter recently and she was completely involved in the toys plight to escape Sunnyside and laughed a lot through their shennanigans in doing so. I forget sometimes just how good this whole trilogy is, but the emotional, climactic scenes here really are top notch and some of the best things in what is overall a truly exceptional series of films.
Length of ownership: 39
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5
One of the Great Sequels of All Time
on January 28, 2020
Posted by: VandyPrice
Verified Purchase:Yes
I bought this steelbook version of the film to complete my steelbook collection alongside the newly released Toy Story 4 and certainly don't regret it! The Ultra HD Blu-Ray picture quality and exquisite case is more than worth the upgrade. I especially love the different, simplistic designs on the back cover of each of the first three films. On top of that, this is obviously one of the best sequel's in cinema history and it only continues to improve on re-watch.
Length of ownership: 39
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5
Masterpiece!
on January 28, 2020
Posted by: VandyPrice
Verified Purchase:Yes
I bought this steelbook version of this classic to complete the steelbook collection alongside the newly released Toy Story 4, but the Ultra HD Blu-Ray picture quality and exquisite case is more than worth the upgrade. On top of that, this is obviously a masterpiece of a movie.
Length of ownership: 39
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Customer Rating
3
Ambitious, but Bloated
on January 28, 2020
Posted by: VandyPrice
Verified Purchase:Yes
IT Chapter Two is a film with great vision, while also being one that lacks focus. This lack of an anchor, or heart-if you will-is the source of much frustration as it's clear director Andy Muschietti has great ambition for what he not only wants his adaptation to be, but represent; this is to be the modern day equivalent of The Shining, a Marvel-esque sized accomplishment in the horror genre, but while the mission is clear and the intent appreciated it seems Muschietti's bloated sequel to his 2017 introduction to the Losers Club bit off more than it could chew. Rather than purely being the twenty-seven year-later sequel it was assumed to be, IT Chapter Two largely operates in a fashion where the first, more endearing chapter, didn't have to exist. It's nice that it does and of the two is the better film, but this is because that movie-while still sprawling in its scope-didn't have to deal in two separate timelines, didn't have to fully dissect the characters, but more just plant the seeds for them and it didn't have to somehow shoehorn in a story about an ancient ritual that would defeat this cosmic entity that we come to know is Pennywise the dancing clown. In other words, Muschietti's predecessor had the ability to focus on its characters in both its heroes and its antagonist while developing the undesirable, but sometimes symbiotic relationship between the two. In Chapter Two, Muschietti and his editor, Jason Ballantine, never find the necessary groove to make everything the film is trying to accomplish flow with the comprehension necessary to lend the film that needed focus, that necessary anchor that gives the viewer something specific to latch onto so that it connects to-if not everything the film is trying to do-at least one thing that will make it feel more personal and therefore more haunting. IT Chapter Two is such a film of fits and starts that it's almost impossible to find any one thing to latch onto at all, but lucky for us Chapter Two does in fact boast a game cast of adult Losers that make the jumbled narrative bearable while Muschietti's visual prowess remains on impressive display throughout. Furthermore, Bill Skarsgård's performance as Pennywise is still gold, but even in this regard the filmmakers don't take as much advantage of the performance as they should-layering in CGI and not allowing Skarsgård's disturbing portrayal to truly breathe. Like a buffet plate that's loaded with everything that looked good, IT Chapter Two ends up a pile of parts with a single bite out of each-nothing fully digested leaving the consumer full, but not satisfied.
Length of ownership: 32
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4
A Necessary Chapter in the Toy Story Franchise
on January 28, 2020
Posted by: VandyPrice
Verified Purchase:Yes
Toy Story 4 is necessary. Know that first and foremost, that not only is Toy Story 4 a necessary addition to the franchise that launched Pixar, but a meaningful one as well. One wouldn't be at fault for thinking the animation studio has been somewhat off its game over the past few years as it turned into a sequel factory of sorts and churned out entertaining enough diversions to more creatively satisfying original films as that's kind of the fact of the matter save for the occasional Inside Out or Coco. Since Toy Story 3 in 2010 Disney and Pixar have released ten films counting this latest Toy sequel and of those ten films six have been prequels or sequels. These have all been of a certain quality, mind you-as even the third Cars film allowed Pixar's most underwhelming franchise to go out on more of a high note than not-and yet, Toy Story 4 feels like the true return to form the studio needed and that audiences were waiting on. With original creative mastermind John Lasseter only credited as a story contributor among a barrage of other contributors it was up to screenwriters Andrew Stanton (Finding Nemo, WALL-E) and Stephany Folsom to crack the story as Inside Out screenwriter and frequent Pixar voice actor Josh Cooley was tasked with his feature directorial debut being the fourth installment in this consistently excellent series. No easy task, but to circle back to the beginning of this review is to reiterate that the most difficult obstacle to overcome with a fourth Toy Story film would be that of justifying its existence. Toy Story 3 ended in such a way that it not only wrapped up the story of these toys and the child they'd belonged to for as long as either of them could remember, but it gave closure to those who'd grown up with the first two films and were now transitioning into adulthood themselves. Almost another decade later and the characters of this world are as endearing as ever with Stanton and Folsom's narrative zeroing in on Woody (voice of Tom Hanks) as he learns that being in charge doesn't always mean being in control. While there were seeds of doubt as to whether or not Cooley and the gang (ah thank you) could find what more there was to be said with these characters and this world, what transpires in Toy Story 4 ultimately provides the necessary comfort to the truth spoken by Toy Story 3; if that previous film eased the transition from adolescence to adulthood then this latest (and presumably final?) film discusses how one adapts to their new role in a mature and positive way.
Length of ownership: 17
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Customer Rating
4
Fantastic Film, Exquisite Steelbook
on January 28, 2020
Posted by: VandyPrice
Verified Purchase:Yes
Joker is no The Dark Knight, but much like in Christopher Nolan's second Batman film, the music in writer/director Todd Phillips' origin story about the Clown Prince of Crime plays as critical a role as any living, breathing human character. The score in Joker is so critical in fact, that Joaquin Phoenix's titular character breaks into dance at multiple points in the movie; the music and movement serving as an expression of certain emotions Phoenix's Arthur Fleck is otherwise unable to convey. The first time Arthur kills another person he actually ends up killing three people and though it could be argued the first two were in self-defense, the third death was not only unnecessary, but it is one Arthur seeks out and is determined to have for his own sense of satisfaction. Naturally, Arthur flees the scene for fear of being caught, but once he dumps the weapon and composes himself he slowly begins to move his feet as if a ballet dancer practicing the battement tendu position. As Arthur's arms move into second position composer Hildur Guðnadóttir's score begins to swell and these chords and motions only serve to amplify the liberation the character feels. Liberation of one's self after taking another's life is certainly dark, but it also isn't anything we haven't seen from comic book characters-especially villains-before and Joker certainly isn't the last time we'll see it either. What is it then, that makes this specific instance of revenge from a man beaten down by society both so egregious and compelling as has been highly documented in the cultural response to the film? Is it that Arthur Fleck's trajectory resembles that of any number of mass shooting culprits? This seems a given, yes, but more it is the level of joy-and not only joy-but satisfaction that Arthur and his eventual alter ego come to gain from the act that has incited concern over both the portrayal and promotion of such a man. Sure, Phillips and Phoenix have intentionally crafted as gritty, raw and grounded a movie as any film inspired by comic books has dared to be and in that type of portrayal there is inherent shock to be found (you saw The Boys, right?), but while Joker and its screenplay wrestle with what exactly it's trying to say it stands to make a statement about how this product of certain circumstance inspires a man to become what he believes necessary to remedy others from those same, undesirable circumstances. That's not to say he's right, but what is maybe most unsettling about the film and Phoenix's performance is that Arthur believes he is.
Length of ownership: 14
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Customer Rating
3
A Killer Re-imagining
on July 26, 2019
Posted by: VandyPrice
Verified Purchase:Yes
As with 2017's IT, this year's adaptation of Stephen King's 1983 novel is an update of an earlier adaptation that has a loyal fan base born of the generation in which King also penned these horror stories. Is this to say those original, filmed adaptations were more in tune with King's stories than today's updates? I couldn't say specifically in regards to IT or Pet Sematary as I haven't had the nerve to open either of those books, but while 1989's Pet Sematary and 1990's IT miniseries undoubtedly share a certain kindred spirit with King’s novels these current re-imaginings operate on a grander scale of sorts-idolizing the source material in a way that translates these stories in more epic terms to the screen. King’s emotionally-driven, character-based work tends to use the horror genre more as a mask for saying what he wants to say which would seem to account for why King’s work has always operated in being more vividly unsettling than straight up scary, but the themes of Pet Sematary are really dark...even for King. Though I have no personal connection or nostalgic ties to either King’s original novel or the original 1989 movie adaptation I tend to be intrigued if not by the premises of King’s works, but for the emotional investment they are able to create through this aforementioned character work. This is why IT ultimately worked so well two years ago for despite having a terrifying clown at the center it was the group of kids and their personal stories as well as the dynamics between them that allowed the movie to work and to be about things besides Pennywise. In directing duo Kevin Kölsch and Dennis Widmyer’s new take on King’s material, there is certainly no fear of going as far as is necessary to evoke the grief that comes along with dealing in loss and more specifically-the loss of a child. Kölsch and Widmyer undoubtedly create a sense of dread from the beginning playing the titular location in a way King would be proud as this sense of dread is not only represented in the literal manifestation of this burial ground, but of the reach it has into the lives of those that both live near and/or meddle in it. An interesting concept and fitting approach, no doubt, but while the emotions are as raw as the aesthetic approach it is a lack of connection to these character’s-especially Jason Clarke’s withdrawn nature despite his character’s actions-that give Pet Sematary a strong sense of purpose if not the lasting, devastating impact it seems pre-disposed to possess. Video review here.
Length of ownership: 16
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Customer Rating
5
One of the Best Movies of the Last Decade
on July 19, 2019
Posted by: VandyPrice
Verified Purchase:Yes
The amount of self-inflicted sacrifice is intended to shape and deliver who we want to be. In certain areas there has to be some level of talent involved, in others it simply takes determination. In Whiplash we assume there is an inherent skill to our protagonists ability that has been present since he picked up sticks at a young age, but it is the amount of hard work and sacrifice that will prove whether he will turn out to be complacent or one of the greats. Andrew Neiman (Miles Teller) has plenty of ambition, but it is his drive that will turn the story of his life into something people might discuss around a dinner table decades after he dies. As a child who was not given everything on a silver spoon and certainly not conditioned to believe anything I touched would turn to gold failure in certain areas became an expectation. Our present, cushioned society makes these truths indiscernible and so we garner generations where all that is expected is instant gratification with little endeavor or commitment required. Whiplash, while clearly drawn from personal experiences and small truths, is also and maybe even more of a commentary on if there is a line to be drawn in breaking down these barriers of reassurance. In what will likely be one of if not "the" defining performance of his career J.K. Simmons as conductor Terence Fletcher tells Andrew that there are no two words more harmful in the English language than, "good job." Fletcher has a philosophy that genius is not blessed upon an individual or built through congratulations, but rather because it is pushed to a breaking point where the only thing that matters is to never stop striving to be better. True greatness comes from real pain. Nothing will essentially ever be good enough for Fletcher and it is in this drive to prove him wrong that Andrew is unable to stop. With his second directorial effort Damien Chazelle has crafted a film so in tune with itself and its character arcs that it is nothing short of exhilarating to see unfold. While one should take the literal actions of the film with a grain of salt and look at the bigger, metaphoric implications it is making to get a clearer message of its ideas it nonetheless comes together to deliver one of the best and certainly one of my favorite films of the year.
Length of ownership: 17
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Customer Rating
3
Unnecessary, but Ultimately Heartwarming
on July 19, 2019
Posted by: VandyPrice
Verified Purchase:Yes
I was negative forty-six years-old in 1941 when Walt Disney released his fourth (and shortest) animated feature, Dumbo, a mere forty-five or so days before the attack on Pearl Harbor. To watch the original animated feature now is to see little more than simplicity and a cautionary tale about bullying, but in the wake of the context in which it was received initially it could certainly be perceived that a simplistic escape mixed with a prevailing underdog (or elephant) story might have been exactly what the country ordered. The question then posed to director Tim Burton's new, "live-action" take on the film is what might it mean to those who decide to take in this new experience? What is peculiar about choosing the 1941 film for an updated re-imagining is the fact it is without doubt an experience that will not hold the same nostalgic meaning for the majority of the audience that ventured out to 2017's Beauty & the Beast nor does it feature any of the explicit technical wizardry of 2016's The Jungle Book. This is the latest film in a string of Disney re-makes that, at their best, can be soulful and moving (Pete's Dragon) and at their worst can be derivative and dull (Alice in Wonderland), but while Dumbo comes to us from the same auteur who ushered in this recent craze with that aforementioned "worse-case scenario" that is Alice in Wonderland, Dumbo seemingly finds Burton not necessarily taking note of what others have done with similar opportunities, but more investing himself more wholeheartedly in the material; caring as much about the themes and ideas that populate his world as he does the design of the world itself. Burton is often referred to as a "visionary"director and this comes more from the fact he has a signature style than it does the fact he's consistently innovative or wise beyond comprehension, but while-as with many of his more recent endeavors-the sheen may have worn from Burton's visual prowess, Dumbo is something of a welcome return in that it is a streamlined, inoffensive, and largely harmless tale that simplifies the more recognizable themes Burton has worked in throughout much of his career. Sometimes simplicity is what's needed, what's necessary, and what connects viewers to material more effectively. Burton's Dumbo doesn't break any new ground, but it does keep the emotional beats intact, preserving their poignancy. Who knows, maybe a simple reminder about placing yourself in someone else's shoes is exactly what the country needed right now even if we didn't order it.
Length of ownership: 17
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Customer Rating
5
Still Wonderful after all these years
on July 3, 2019
Posted by: VandyPrice
Verified Purchase:Yes
The Steelbook packaging is clean and slick while the blu-ray presentation offers a pristine re-mastering of this twenty-five year-old gem of a film that continues to be as endearing as ever.
Length of ownership: 22
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