Published on August 19th, 2019
Disney is not just a movie studio, it is a celebration of life. Especially when it comes to the kids Disney is and would remain their best friend.
That is probably because dreams and aspirations of these children are fulfilled with Disney and when they are portrayed on the screen these children get to see a new world.
Ever since its inception Disney Pixar has touched the hearts of many people and in this article, we showcase the best Pixar movies that no child should miss.
Along with we also share details about each so that you too know the pain that went behind putting a smile on your face. Read on to know the movies which excelled and those which touched souls.
1. Toy Story 2
While Andy is away at summer camp Woody has been toynapped by Al McWiggin, a greedy collector and proprietor of “Al’s Toy Barn”!
In this all-out rescue mission, Buzz and his friends Mr. Potato Head, Slinky Dog, Rex and Hamm springs into action to rescue Woody from winding up as a museum piece.
They must find a way to save him before he gets sold in Japan forever and they’ll never see him again!
Pixar’s 1995 Toy Story and its superlative 1999 sequel ushered in the supremacy of computer-generated animation. So it’s only fitting that, in the midst of cinema’s latest 3-D revolution—and ahead of next summer’s Toy Story 3, conceived with the ubiquitous, glasses-required technology in mind—John Lasseter would retrofit his groundbreaking duo with the spiffiest of hi-tech duds.
Lo and behold, the in-your-face treatment suits the sarcastic cowboy doll Woody, delusional action figure Buzz Lightyear and their magically alive plastic plaything friends smashingly, lending an even greater vibrancy, depth and verve to their exquisitely crafted adventures.
2. Toy Story
A little boy named Andy loves to be in his room, playing with his toys, especially his doll named “Woody”. But, what do the toys do when Andy is not with them, they come to life. Woody believes that his life (as a toy) is good. However, he must worry about Andy’s family moving, and what Woody does not know is about Andy’s birthday party.
Woody does not realize that Andy’s mother gave him an action figure known as Buzz Lightyear, who does not believe that he is a toy, and quickly becomes Andy’s new favorite toy. Woody, who is now consumed with jealousy, tries to get rid of Buzz. Then, both Woody and Buzz are now lost.
They must find a way to get back to Andy before he moves without them, but they will have to pass through a ruthless toy killer, Sid Phillips.
Review: Hollywood Reporter
Easily the most all-out entertaining of Disney animated efforts since Aladdin, this groundbreaker should also handily break a few box-office records when it starts rolling out in playrooms Wednesday.
Tom Hanks lends his tailor-made, childlike enthusiasm to the character of Woody, a pull-string talking cowboy who has earned his place as the most cherished of all of 6-year-old Andy’s (John Morris) toys.
With that honor comes the loyalty and respect of Andy’s other playthings, including a wisecracking Mr. Potato Head (Don Rickles); Rex, a plastic dinosaur with an assertiveness problem (Wallace Shawn); trusty Slinky Dog (Jim Varney); and the comely Bo Peep (Annie Potts), in reality a porcelain lamp who has a thing for the lanky cowboy.
Alas, Woody’s placid reign is rudely interrupted with the arrival of Buzz Lightyear (Tim Allen), a souped-up space action figure with enough bells and whistles to make young Andy forget about all his other toys.
3. Finding Nemo
A clown fish named Marlin lives in the Great Barrier Reef and loses his son, Nemo, after he ventures into the open sea, despite his father’s constant warnings about many of the ocean’s dangers. Nemo is abducted by a boat and netted up and sent to a dentist’s office in Sydney.
While Marlin ventures off to try to retrieve Nemo, Marlin meets a fish named Dory, a blue tang suffering from short-term memory loss. The companions travel a great distance, encountering various dangerous sea creatures such as sharks, anglerfish and jellyfish, in order to rescue Nemo from the dentist’s office, which is situated by Sydney Harbour.
While the two are searching the ocean far and wide, Nemo and the other sea animals in the dentist’s fish tank plot a way to return to the sea to live their lives free again.
Review: THE TIMES
A Delicious tale by the Pixar maestros who gave us Toy Story and Monsters, Inc. The tropical pleasure is a beautifully imagined adventure that beguiles children and tickles adults. Nemo is a hapless clown fish who gets separated from his classmates on his first day at school and incarcerated in a saltwater aquarium in dental surgery in Sydney.
The American accents grate and squawk, but the animation is truly magical. Albert Brooks voices Nemo’s father, Marlin, who hitches his way across the Barrier Reef in search of his son with a fleet of stoner turtles. Ellen DeGeneres actually looks like her character Dory, and steals most of the humour as a chronic amnesiac. And there’s terrific fun with neurotic sharks.
4. Toy Story 4
Woody, Buzz Lightyear and the rest of the gang embark on a road trip with Bonnie and a new toy named Forky. The adventurous journey turns into an unexpected reunion as Woody’s slight detour leads him to his long-lost friend Bo Peep. As Woody and Bo discuss the old days, they soon start to realize that they’re two worlds apart when it comes to what they want from life as a toy.
Review: THE NEW YORKER
Three stooges, four Gospels. Four Horsemen of the Apocalypse, preferably with four horses attached. Nine lives per cat. Some statistics are set in stone, and admirers of the “Toy Story” franchise have spent years under the distinct impression that “Toy Story 3” (2010) marked the end of the affair. Nobody watching “The Lord of the Rings: The Return of the King” (2003) envisaged a quiet coda, in which Frodo Baggins retrains as a chiropodist, and few of us, similarly, were banking on the revival of Woody, Buzz, and the gang. Yet here they are, in “Toy Story 4,” and here we go again.
5. Inside Out
Growing up can be a bumpy road, and it’s no exception for Riley, who is uprooted from her Midwest life when her father starts a new job in San Francisco. Like all of us, Riley is guided by her emotions – Joy, Fear, Anger, Disgust and Sadness. The emotions live in Headquarters, the control center inside Riley’s mind, where they help advise her through everyday life. As Riley and her emotions struggle to adjust to a new life in San Francisco, turmoil ensues in Headquarters. Although Joy, Riley’s main and most important emotion, tries to keep things positive, the emotions conflict on how best to navigate a new city, house and school.
There’s a sublime sketch in Woody Allen’s 1972 comedy, Everything You Always Wanted to Know About Sex (But Were Afraid To Ask), which is set inside a young man’s brain. His mind, it seems, is actually a command centre where a dedicated crew is busy adjusting his behaviour. It’s a conceit which has been revived – with a lot less emphasis on procreation – by Pixar’s fizzy new cartoon, Inside Out.
6. TOY STORY 3
Woody, Buzz and the whole gang are back. As their owner Andy prepares to depart for college, his loyal toys find themselves in daycare where untamed tots with their sticky little fingers do not play nice. So, it’s all for one and one for all as they join Barbie’s counterpart Ken, a thespian hedgehog named Mr. Pricklepants and a pink, strawberry-scented teddy bear called Lots-o’-Huggin’ Bear to plan their great escape.
Review: THE VILLAGE VOICE
Fifteen years after ushering in a new era of CGI animation, and 11 years after a colossally successful pre-millennial sequel, the Toy Story franchise returns to a changed world. Its irresistible conceit and snappy good humor remain largely intact, though now it also hauls a saltier and more anxious sensibility. Inanimate figurines don’t age, but they do get nicked up and discarded, and that tension between immortality and irrelevance remains the central conflict in Lee Unkrich’s Toy Story 3.
Andy is all grown up and about to drive off to college, leaving the fate of his toys uncertain. Will they be stored in the attic, left on the curb for sanitation pickup, or delivered to the local day-care center? All of the above, it turns out, as the whole gang gets caught in an odyssey of compounded indignities. Fears of the unknown, of neglect and abuse, are gradually eclipsed by the threat of disposal. Identifying with plastic figures has always been essential to the series’ playfully perverse, aptly adolescent allure, but here, that empathy mutates into macabre existentialist dread. How many kids’ movies lead their protagonists to the precipice of a flaming pit of hell?
Carl Fredricksen as a boy wanted to explore South America and find the forbidden Paradise Falls. About 64 years later he gets to begin his journey along with a Boy Scout named Russel by lifting his house with thousands of balloons. On their journey, they make many new friends including a talking dog and figure out that someone has evil plans. Carl soon realizes that this evildoer is his childhood idol.
Not that there’s anything wrong with an animated film tugging at our tear ducts. But you can sense unease rippling through the younger halves of the family audience when, about five minutes into a spunky prologue, intrepid pre-pubescents Carl and Ellie abruptly morph into newlyweds, and then not-so-newlyweds.
They gray and stoop before our eyes, youthful dreams of exploration traded in for the comforts of home and domestic bliss. Ellie wants a baby but can’t have one. Their savings for the holiday of a lifetime are eaten up by this rainy day, that domestic disaster, until there’s no more lifetime left — not for Ellie, anyway.
That leaves us with Carl, a grumpy homebody voiced by Ed Asner, who makes WALL-E look like a chatterbox. And he’s one of the main characters.
Despite his family’s baffling generations-old ban on music, Miguel dreams of becoming an accomplished musician like his idol, Ernesto de la Cruz. Desperate to prove his talent, Miguel finds himself in the stunning and colorful Land of the Dead following a mysterious chain of events. Along the way, he meets charming trickster Hector, and together, they set off on an extraordinary journey to unlock the real story behind Miguel’s family history.
Review: THE TIMES
At the end of Coco you will cry. This is a fact. As sure as night follows day and features follow trailers, and as sure as the sight of Luxo Jr (the dancing desk lamp in the Pixar logo) has come to signify a certain standard of high-quality family-friendly storytelling, the climax of this film will make you blub. But does that make it a great movie? Well, not quite.
It’s imaginative, colourful, visually inventive, emotionally sensitive, frequently exciting and occasionally, suddenly, profoundly moving. It tells the story of Miguel, a chipper Mexican music-loving tyke (voiced by Anthony Gonzalez), who is the heir to the steady if not entirely thrilling shoe-making business run by his quirky, multigenerational family of music haters (Ooooh. Conflict. This is…
9. The Incredibles
Bob Parr (A.K.A. Mr. Incredible), and his wife Helen (A.K.A. Elastigirl), are the world’s greatest famous crime-fighting superheroes in Metroville. Always saving lives and battling evil on a daily basis. But fifteen years later, they have been forced to adopt civilian identities and retreat to the suburbs where they have no choice but to retire as superheroes to live a “normal life” with their three children Violet, Dash and Jack-Jack (who were secretly born with superpowers). Itching to get back into action, Bob gets his chance when a mysterious communication summons him to a remote island for a top secret assignment. He soon discovers that it will take a super family effort to rescue the world from total destruction.
The Incredibles may become the first Disney/Pixar film not to dominate at the box office. That statement has nothing to do with the film’s quality – in fact, The Incredibles is among the best of Pixar’s digitally animated movies. However, it’s going up against The Polar Express, which has a number of advantages, not the least of which are its built-in audience and seasonal appeal. More than anything else, The Incredibles is likely to be a victim of bad timing. Don’t shed any tears for its makers, however. The film will still keep the cash registers ringing until it attains “blockbuster” status, although it won’t be the runaway hit that Pixar’s last production, Finding Nemo, was.
As the crop of digitally animated films becomes more abundant, audiences are likely to demand increasingly more from such movies. The early efforts mostly had everything: beautiful visuals, great voice acting, and superior writing. But, as more of these pictures reach screens and they become “routine,” it’s natural to speculate whether there will be a slip in quality. Fortunately, such a trend (if it ever develops) is not in evidence in The Incredibles. As with Toy Story and Finding Nemo, Pixar has again struck gold. The Incredibles isn’t just fine family entertainment, it’s superior family entertainment.
A rat named Remy dreams of becoming a great French chef despite his family’s wishes and the obvious problem of being a rat in a decidedly rodent-phobic profession. When fate places Remy in the sewers of Paris, he finds himself ideally situated beneath a restaurant made famous by his culinary hero, Auguste Gusteau. Despite the apparent dangers of being an unlikely, and certainly unwanted, visitor in the kitchen of a fine French restaurant, Remy’s passion for cooking soon sets into motion a hilarious and exciting rat race that turns the culinary world of Paris upside down.
Faaaabulous Pixar pics were the rule until Cars crashed into multiplexes last year. The mix was wrong in that one — lots of digital vim, not enough emotional vigor. But the studio’s animators have got the recipe right this time, in a tale of mistaken identity, haute cuisine and rambunctious rodents.
The story concerns Remy, a Parisian rat (voiced by Patton Oswalt) who dreams of culinary glory working as a fine French chef, but who needs a front man who won’t cause screams in the kitchen. He finds one in Linguini (Lou Romano), a garbage boy with no noticeable gustatory talent who’s willing to play puppet to Remy’s puppeteer in order to keep his job — and, incidentally, to pursue a pretty sous-chef (Janeane Garofalo).
11. Monsters, Inc.
A city of monsters with no humans called Monstropolis centers around the city’s power company, Monsters, Inc. The lovable, confident, tough, furry blue behemoth-like giant monster named James P. Sullivan (better known as Sulley) and his wisecracking best friend, short, green cyclops monster Mike Wazowski, discover what happens when the real world interacts with theirs in the form of a 2-year-old baby girl dubbed “Boo,” who accidentally sneaks into the monster world with Sulley one night. And now it’s up to Sulley and Mike to send Boo back in her door before anybody finds out, especially two evil villains such as Sulley’s main rival as a scarer, chameleon-like Randall (a monster that Boo is very afraid of), who possesses the ability to change the color of his skin, and Mike and Sulley’s boss Mr. Waternoose, the chairman and chief executive officer of Monsters, Inc.
Shoulder to shoulder, they stride in heroic slow motion into the hangarlike factory, backlit like the space cowboys in “The Right Stuff.” Except these fierce, determined guys look weird. One of them is eight feet tall with turquoise and purple fur; another is an eight-legged reptile. These are the Scarers, the elite monsters who keep the city of Monstropolis running. Every night these astronauts of fear transport themselves through magical doors into the closets of human kids, reaching into their venerable bag of tricks to generate shrieks of terror. For, you see, the power source that keeps the lights burning in the land of the monsters is children’s screams, captured in canisters. Trouble is, kids today don’t scare so easily. Which has left Monstropolis facing an energy crisis. rolling blackouts predicted, run the headlines in the city’s papers.
In a distant, but not so unrealistic, future where mankind has abandoned earth because it has become covered with trash from products sold by the powerful multi-national Buy N Large corporation, WALL-E, a garbage collecting robot has been left to clean up the mess. Mesmerized with trinkets of Earth’s history and show tunes, WALL-E is alone on Earth except for a sprightly pet cockroach. One day, EVE, a sleek (and dangerous) reconnaissance robot, is sent to Earth to find proof that life is once again sustainable. WALL-E falls in love with EVE. WALL-E rescues EVE from a dust storm and shows her a living plant he found amongst the rubble. Consistent with her “directive”, EVE takes the plant and automatically enters a deactivated state except for a blinking green beacon. WALL-E, doesn’t understand what has happened to his new friend, but, true to his love, he protects her from wind, rain, and lightning, even as she is unresponsive. One day a massive ship comes to reclaim EVE, but WALL-E,
Review: The Guardian
It’s the end of the world according to Pixar. WALL-E is a song from a dying planet, a dystopian science-fiction romance in which a rusting, refuse-collecting robot falls in love with a sleek white probe. It is surely the studio’s boldest project to date. It may also be the bleakest, saddest animation I’ve ever seen (although yes, Grave of the Fireflies runs it mighty close).
Is this a problem? Possibly not, when a film is as textured and inventive as this one. Certainly WALL-E is at its best during its audacious, dialogue-free opening third, as its hero harvests the flotsam of a spent planet, trundling back and forth among the derelict filling stations and corroded oil tankers. Then he encounters the pristine, steely EVE and is whisked off to a space station inhabited by human survivors who have evolved down the centuries into a race of sedentary, semi-conscious gastropods. These gastropods suck on smoothies, converse via computer screens and occasionally kerflump off their floating recliners. They are presumably here to provide the light relief, though it’s all relative. No amount of comedy kerflumping can lift the ever-present air of melancholia.
13. Incredibles 2
While the Parr family has accepted its collective calling as superheroes, the fact remains that their special heroism is still illegal. After they are arrested after unsuccessfully trying to stop the Underminer, their future seems bleak. However, the wealthy Deavor siblings of Devtech offer new hope with a bold project to rehabilitate the public image and legal status of Supers, with Elastigirl being assigned on point to be the shining example. Now having agreed for now to stay at home to care of the kids, Mr. Incredible finds domestic life a daunting challenge, especially with baby Jack-Jack’s newly emerged powers making him almost impossible to manage. However, Elastigirl soon has her own concerns dealing with the menace of a new supervillain, Screenslaver, who is wreaking havoc with his mind control abilities. Now, Elastigirl must solve the mystery of this enemy, who has malevolent designs on the world with the Parr family and friends key targets of this evil.
Review: The Guardian
The Incredibles, like The Simpsons, are eternally the same age, although for them the miracle has been brought off by just starting the sequel at the exact point the first movie left off. We are still in the LBJ 60s, superheroes are still illegal and the Incredibles’ stroppy teen daughter Violet (voiced by Sarah Vowell) is on the verge of dating that nice boy she met in school.
It is indeed incredible to think that the first film came out in 2004, just before the Marvel Studios explosion of fan-oriented superhero films changed the cultural weather, creating an audience for whom the Incredibles’ uncanonical characters and satirical deconstruction of superhero conventions (capes, monologuing) are not entirely cool, however affectionately intended. But The Incredibles is for me still the greatest film from the Pixar studio and a masterpiece of the noughties’ golden age of digital feature animation, when these films’ graphics and visuals took the world’s breath away. How blase we all became. The Pixar signature ident is still thrilling to me: the little standard Anglepoise lamp bouncing the “i” in Pixar down to size and then turning on us its blank and challenging stare.
14. Finding Dory
Dory is a wide-eyed, blue tang fish who suffers from memory loss every 10 seconds or so. The one thing she can remember is that she somehow became separated from her parents as a child. With help from her friends Nemo and Marlin, Dory embarks on an epic adventure to find them. Her journey brings her to the Marine Life Institute, a conservatory that houses diverse ocean species.
There is a Yiddish word, verklempt, that roughly translates as being choked up to the point of near-tears without actually crying. If you grew up with a learning disability or raised a child with one, there are plenty of scenes in Pixar’s “Finding Dory” which will have that effect on you… and considering that quality family films about learning disabled characters are a rarity, it is refreshing to see “Finding Dory” rise to that challenge.
One scene in particular resonated with me: Dory’s parents, who recognize her short-term memory problems when she’s very young, are discussing whether she’ll be able to have a future. Her mother is hysterically crying because she’s terrified that her child won’t be able to make it on her own, and the father’s efforts at reassurance are as much for his own benefit as hers. Shortly thereafter she is whisked away in an accident, no doubt confirming their own worst fears.
15. A Bug’s Life
At an annual pace, a huge colony of ants is forced to collect every piece of food that grows on their island for a group of menacing grasshoppers.
But that all changes when a misfit inventor ant named Flik accidentally knocks over the offering pile thus forcing the grasshoppers’ devious leader Hopper to force the ants to redo their gathering of food.
Despite the fact that his friends don’t believe him and desperate to help save the colony, Flik volunteers to go out into the world and search for a group of ‘warrior’ bugs.
Instead, what he got was a talented group of circus performers. But when the grasshoppers return and take control of the island, Flik must prove himself a true hero before it’s too late.
“A Bug’s Life” may be the single most amazing film I’ve ever seen that I couldn’t fall in love with. The second computer-animated feature from the wizards at Pixar, who made the great, exhilarating “Toy Story” (1995), it’s a hellzapoppin’ creepy-crawly jamboree — a wryly teeming comedy set in a mad, mad world of backyard bugs, who have been brought to life with a technical ingenuity so extraordinary it may well transcend that of any previous animated film.
Zip-zappy and supersmart, crammed with busy, caroming sight gags that escalate with a near-atomic frenzy, A Bug’s Life is like a fireworks show that’s too big and bursting to take in. It’s so obsessed with wowing you, in every corner of every frame, that as a movie it doesn’t quite breathe.
John Lasseter, the creative guru of Pixar (and the film’s primary director), is undeniably some sort of whacked genius, but you can feel how hard he’s working to top himself and everyone else. He has made a kiddie flick that’s about nothing so much as its own virtuosity — less an ingratiating entertainment than a crazily spinning gyroscopic feat.
16. Monsters University
Mike Wazowski and James P. Sullivan are an inseparable pair, but that wasn’t always the case. From the moment these two mismatched monsters met they couldn’t stand each other. “Monsters University” unlocks the door to how Mike and Sulley overcame their differences and became the best of friends.
The thing that sets Pixar films apart from other animated movies _ the force that delights us and tugs at us all, regardless of who we are or where we come from _ is story. Story has been paramount above all else and a signature of this production company since its inception two decades ago.
It’s also something that, sadly, has been in diminishing supply in the past few Pixar offerings: “Cars 2,” “Brave” and their latest, “Monsters University.”
This prequel to the 2001 charmer “Monsters, Inc.” doesn’t feel as flat and phoned-in as “Cars 2,” which remains the weakest Pixar movie from a creativity standpoint. But it pales in comparison to the best the studio has had to offer, which is especially disappointing given both the inventive premise and unexpected emotion of “Monsters, Inc.”
17. Brave (2012)
Set in Scotland in a rugged and mythical time, “Brave” features Merida, an aspiring archer and impetuous daughter of royalty. Merida makes a reckless choice that unleashes unintended peril and forces her to spring into action to set things right.
The story — of a rebellious princess who battles an imperious queen and is beset by magic spells — is a twist for Pixar but as familiar to its parent company Disney as Snow White and the Seven Dwarfs, Beauty and the Beast and The Princess and the Frog. One big difference: the woman who makes the heroine’s life miserable is not her stepmother but her own mom.
In ancient Scotland, Merida (voiced by Kelly Macdonald) is a lass as wild as her curly red mane. An expert in archery, like The Hunger Games’ Katniss, Merida feels closer to the bear-hunting machismo of her father, King Fergus (Billy Connolly), than to the civilizing demands of her mother Elinor (Emma Thompson).
She snorts when she laughs, filches food from the pantry, just because she can, and runs free through the bear-infested woods. She’s both a tomboy and a sullen teen who responds to her mother’s every request by flopping on the nearest piece of furniture and whining, in two harsh syllables, “Mah-ahm!”
18. The Good Dinosaur
“The Good Dinosaur,” asks the question: What if the asteroid that forever changed life on Earth missed the planet completely and giant dinosaurs never became extinct? In this epic journey into the world of dinosaurs, an Apatosaurus named Arlo makes an unlikely human friend.
While travelling through a harsh and mysterious landscape, Arlo learns the power of confronting his fears and discovers what he is truly capable of.
Review: THE TIMES
More Cars 2 or Monsters University than Inside Out or Toy Story, The Good Dinosaur is the animation behemoth Pixar at its most formulaic and uninspired.
Set in a prehistoric otherworld, free from the threat of extinction, the film imagines an evolutionary paradigm where dinosaurs have become dino-farmers, dino-cowboys and dino-hippies (really, don’t ask), and live in relative harmony with their primitive human cohabitants.
Junior dino-farmer Arlo (Raymond Ochoa) is the focus of the story. He is a, ho-ho, timid dinosaur (Didn’t we do this before? With Wallace Shawn’s Rex in Toy Story?), who is bereaved in the opening scenes, then loses his way in the woods and thus, with the aid of his savage orphan child companion, Spot (Jack Bright), will spend the entire…
While traveling to California for the dispute of the final race of the Piston Cup against The King and Chick Hicks, the famous Lightning McQueen accidentally damages the road of the small town Radiator Springs and is sentenced to repair it.
Lightning McQueen has to work hard and finds friendship and love in the simple locals, changing its values during his stay in the small town and becoming a true winner.
Review: The Guardian
The movie is a cheerful celebration of the lovable automobile, and particularly a fondly imagined golden age of motorvatin’ on the open road: heading out west on Route 66, and encountering the kind of authentic smalltown America that is getting economically and culturally starved by the soulless interstate highways built to bypass these communities.
Owen Wilson voices Lightning McQueen, a snappy, zappy young sports car planning to win the all-important Piston Cup on his very first professional outing.
His name may or may not be in homage to Steve McQueen: movie actor and speed king. Lightning is preparing to race two fierce rivals at the gigantic meeting in Los Angeles, but on the way there finds himself marooned in a tiny, sleepy little town called Radiator Springs, populated by hick cars with various wacky voices, and naturally learns life lessons about how smalltown values are best.
This is a lesson traditionally promoted in Hollywood movies – written, produced and performed by people who couldn’t wait to get away from their dullsville home towns and head for the LA dream factory.
20. CARS 3
Racing is starting to become tough for Lightning McQueen, as he is becoming one of the oldest race cars on the race track and a generation of new rookies are coming into the racing world.
For Lightning to prove that he is still a top racer, he is going to need help from an eager young female car named Cruz Ramirez, who is to help and train Lightning. He’s not quitting until he shows he is still a top racer.
Lightning McQueen is happily winning all of his races until a new generation of high-tech racers are trained. They all zoom past McQueen, leaving him fading behind.
Jackson Storm, a new-gen, wins four times in a row as McQueen pushes himself too hard and crashes. In order to get back on the race track, he needs training from a young racing technician at the Rust-eze Racing Center, Cruz Ramirez.
Cruz and Smokey Yunick, the former engineer for the Fabulous Hudson Hornet, help McQueen best they can. With cheering from Mater, Luigi, Guido, and Sally, McQueen could possibly beat Storm in the Florida 500 by learning a few tricks from the history of the Fabulous Hudson Hornet.
Review: THE TIMES
When to retire? How to retire gracefully? And how to plan for some satisfying and fulfilling autumn years? No, it’s not an infomercial from a pension fund, but the latest Pixar blockbuster, a movie that aims to reach the hearts and minds of its pre-teen target demographic with a tale about the perils of retirement.
It’s specifically a very Hollywood type of retirement, in which a famous and wealthy celebrity, in this case the racing car Lightning McQueen (voiced by Owen Wilson), must deal with the appearance of a younger-looking, sexier and more coveted star on the block — the high-tech racer Jackson Storm (Armie Hammer).
The film thus follows Lightning as he teams up with female racing coach Cruz Ramirez (Cristela Alonzo) and trains…