Toys - Giocattoli

*** and a half/****

Toys comes very close to being perfect. First, it is the closest I have seen a director come to creating a Kubrick style of filmaking. However, the ending for this movie is terrible.

Toys is about a man named Leslie Zevo whose father's toy company is taken over by his uncle, General Leland Zevo. The General tries to change the toy line from wind-up toys and dolls to military equipment and is trying to create a toy army operated by little children on remote the control. The plot sounds far fetched but it works.

The beginning of this movie if flawless. The entire production design was definately Oscar worthy. Barry Levinson manages to create this incredible world. I actually did feel like I as watching a Stanley Kubrick film because of the camera and design. There's one chilling scene were Robin Williams is discussing some of the novelty items the company will produce and as he does it the walls of the room he is in slowly close in because the General needs more space to build his war toys. Out of all the films I've seen in the 90's this scene would rank as one of the most memorable amoung them.

The performances are good. Michael Gambon and Robin Williams are both strong (I think Robin Wright was mis-cast though). However, Joan Cusack gives one of the most incredible performances I've ever seen. She plays a very child like adult, almost retarded but doesn't quite cross the line. The risks she takes and her characterization are all brilliant. There is one momennt when she is at her father's funeral and she just talks about how the word "tinhorns" stays with her. It's so beautiful and pure.

Now, about the ending. There is a scene in the film where the General tries to kill a fly with a gun. The movie should have ended with him trying to shoot the fly, but then shooting himself. However, there is this whole cliche plotline about bad guys becoming good, there's a toy battle which goes against the thematic elements of the movie, and there's an unesecary love scene that ruins the Kubrickian mood. The ending actually reminded me of a movie called Baby Geniuses and anyone who has seen both movies (which I'm sure is unlikely) will agree with me.

Oh well, if you see Toys watch up to the scene with the General and the fly and then stop. If you do this, you will have one of the most enjoyable cinematic experiences of your life.

To write a long critique of this film is tempting. When you spend two hours watching a movie there is the desire to see some new awareness or understanding as a result.

Toys just has nothing to say. The colors in most scenes are intense, but they can't make the movie compelling. There is no message. Worse, the movie excludes all audiences.

1. There is too much sexual inuendo and conflict for little kids

2. The characters are too thin and embarassingly simple to appeal to adults.

I admit to watching the whole movie. I have heard it called the "train wreck" effect. You just can't take your eyes away from the disaster. Your heart says it has to get better, that it will have some clever twist at the end. "Toys" is never clever. It is horrifying to watch as there seems to be no end to the childish behavior of the characters. Not greed or envy - the childish emotions. No, just characters that act goofy and silly.

"Toys" just does not work. The movie feels akward and it leaves you feeling empty in the end.

If there ever was a movie that REQUIRED narcotics to enjoy it, "Toys" may be that one. Other activities that are better with drugs? Surgery, dentistry, unemployment, imprisonment, psychosis, . . .

Watch "Toys" to understand what a 1 star movie is. I used to wonder why every movie seems to get at least two stars from the critcs. Now, I can see that they must reserve the honor of one star for ill-concieved cinematic mistakes like "Toys"

I've seen this film dozens of times over the years, even though I hate it; it's become an annual Christmas tradition at this point. Why? Certainly the production design is a delight to the eyes, even all these years after the fact, maybe even moreso in a CG-saturated world. Robin Williams' performance has taken on new depth in the wake of his demise; we shall not see his like again. The film contains interesting ideas about war, and war toys, and innocence loss and gained, topics that seem uncomfortably forward-thinking in retrospect (or something). There are some clever set pieces and thought-provoking visual moments, without question.

I detested this film when I first saw it on laser disc around Christmas 1993. I fast-forwarded through the entire end battle scene because I found it so dull. I thought the film was messy, unfocused, icky, indulgent and passionless--cookie-cutter. It was part of a wave of bloated fantasy films from the late 80s and early 90s ("Willow", "Mario Brothers"), some good, some bad. It was marketed as being weird-but-quaint, an appeal to those of us raised with Willy Wonka, with all-star cameos sifted in for good measure. It reeked of commercialism and pre-packaging and I was probably too old for it when I saw it. My younger brother saw it first-run in a theater and could only mutter later, "It isn't what you might think it would be."

It's a poorly made film, without a doubt--the opening and ending scenes seem to have been imported in from another project entirely; the coverage in the opening scenes alone is all over the place, a mish-mosh of angles and under-developed ideas that suggests a Christmas pageant of some kind (the only Christmas reference in the film, entirely superflous as it turns out). Later, while Michael Gambon is touring the toy factory it seems clear second-unit footage of an actual scene of dialog was used (dialog muted), randomly cut in to an already-busy and unconsidered moment. Characters come and go with no purpose, random whims spark and are gone ("This is my noise-making suit" "I really like Yolanda and Steve!"), tonally the film shifts from sentimental childish muck to an out-of-nowhere sex scene to the exploding (murdering) of charming kids' toys. Mr. Gambon is a bad-guy caricature filmed from below so you're forced to look up his nose and deal with his bloated, wide-eyed face at all times. Williams and Cuzack seem to be making up their performances as they go, playing creepy adult children, with the latter really hamming it up in "quirky" mode. Set designs exist for no purpose other than to be "cool" (and they truly are), the music, while wonderful, is shoe-horned in to the film at regular intervals (Tori Amos' "Happy Workers" is particularly cringe-worthy, even though the song itself is neato--it's painfully obvious a choreographer was hired and then had to be put to use somehow). It's difficult to care about the characters and their situations or even know what's going on half the time, and the whole bloody thing just goes on and on, until it finally comes to a sputtering stop, ending with a dreamlike, if inexplicable, credit sequence with a flying elephant statue that blows bubbles.

As I said, I really couldn't stand this movie initially, but I kept thinking about it over the years. At some point (probably when I chanced to watched the film on pain meds some time ago now) I began to get into the movie somehow. My co-workers at the time, who had all been kids when the movie was on cable, loved it, they said. Looking at it now, the film reminds me of another time--the score (including Thomas Dolby? In 1992?) and many of the pop culture nods (like a groan-worthy MTV product-placement moment halfway through) were already old and tired when it came out but represent a specific time of historical arrogance in the US, a time long gone.

After having seen the movie at least once, one doesn't expect any more than what it has to offer in terms of narrative, freeing the viewer from the need for a story and allowing one to peek into another world, a pre-9/11 place where the hubris of Hollywood was at an all-time high. It's like Spielberg's "1941" or "Hook," it's fun to watch people tossing money about and indulging in their artistic whims, even at the cost of the audience's patience (and lack of financial support). I get a little wistful nowadays, thinking of the old concept of the "tentpole" movie and how audiences used to flock to a film just because someone like Williams was in it. "Toys" is a good example of the kind of films that were made once upon a time, for better or worse, and whatever else the movie may be about (I honestly couldn't tell you, after all these years, what it's actually "about") it works as a fairytale on that level alone.

I'm constantly amazed at how so many wannabe movie buffs can go ga-ga over something as romantic and unreal as Titanic and slam a film that has so many fine artistic points as this one. Well, as me auld Irish Mither used to say, "There's no counting for taste," I suppose but hey! This is a fine little film with a poignant theme, a fun fantasy frolic and some incredible artistic moments. Robin Williams is at his non-goofiest best in this medium. Indeed, his Leslie, the toymaker, is almost underplayed. Joan Cusack is, simply put, always worth the price of admission and then there's Michael Gambon and a glimpse of the late Donald O'Connor. LL Cool is relatively harmless in his role and does not distract from the pace of the film. Put it all together, it works, gang. Don't go in there expecting instant game-boy entertainment. Look. See. Drink in the colors. Smell the textures of contrasting materialistic profitism with creating bits of beauty that can be enjoyed by children of "all ages." Alas, I realize that is a lot to ask for from an audience, but, hey, you flunked on the firt go-round; now, see this one again and give it try.

An eccentric, pacifistic toymaker, Robin Williams, learns to take responsibility and assert himself after his father leaves the family toy factory to his uncle, Michael Gambon, a retired army general, who violates the company philosophy by making war toys. Director Barry Levinson, a sometimes brilliant writer, used his considerable prestige to make this very big film built around this very simple analogy: War is bad/innocence (toys) is good. This film would have had more relevance in 1972 than 1992. As it is, it is two decades too late and two tons too heavy. Worse still, the climax is directly contradicts the theme of the film. Robin Williams is only able to gain the maturity to take control of the company by waging a toy war. Hmmmm, maybe war isn't so bad after all. Still, the film is not a total washout. The sets are quite imaginative, and the film does manage to generate an interesting atmosphere - if you're in the mood for such things. The most interesting thing, however, is the casting of rapper LL Cool J as Michael Gambon's son and Robin Williams' cousin. No explanation is given for the fact that he's African-American. That's a nice touch.