5.0/10
28,037
155 user 25 critic

Toys (1992)

When a military general inherits a toy making company and begins making war toys, his employees band together to stop him before he ruins the name of Zevo Toys forever.

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Nominated for 2 Oscars. Another 10 nominations. See more awards »
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Cast

Cast overview, first billed only:
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Kenneth Zevo
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Old General Zevo
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Nurse Debbie
Wendy Melvoin ...
Choir Soloist
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Cortez
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Baker
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Shimera
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Guard at Desk
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Storyline

An eccentric toymaker's last wish is that his brother takes over the running of the business. The brother is a military General, and is out of touch with toymaking, and out of touch with reality too. The business should really have been given to Leslie, who was much more like his toymaking father. When the General starts making weapons instead of toys, Leslie decides to take action. Written by Rob Hartill

Plot Summary | Plot Synopsis

Taglines:

Laughter is a state of mind.


Motion Picture Rating (MPAA)

Rated PG-13 for some language and sensuality | See all certifications »
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Details

Country:

Language:

Release Date:

18 December 1992 (USA)  »

Also Known As:

A Revolta dos Brinquedos  »

Filming Locations:

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Box Office

Budget:

$43,000,000 (estimated)

Gross USA:

$21,452,082
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

| (FMC Library Print) (dvd release)

Sound Mix:

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Trivia

The scene with Leslie addressing his troops was ad-libbed. Levinson kept a camera rolling Everytime Robin Williams was on set. See more »

Goofs

At the end of the film when the Zevo tombstone (stone elephant) is flying through the air, the wire carrying the elephant is clearly visible. See more »

Quotes

Leslie Zevo: Hold 'till you see the lights in their eyes.
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Soundtracks

WORKERS
Written by Trevor Horn and Bruce Woolley
Produced by Trevor Horn
Performed by The Musical Cast of Toys
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User Reviews

 
Damaged in shipment...
28 April 2004 | by See all my reviews

You get a gift. It is exquisitely wrapped. The box it is in is hand crafted out of the finest wood and shows skill down to the smallest detail. That is then wrapped in gorgeous paper, handmade and hand-painted by the most talented of artists. The whole thing is wrapped in ribbons made from fine silk lace. It is a sight to behold.

Then you cut the ribbon, rip off the paper, open up the box, and find...nothing. That's TOYS. You either enjoy the packaging, or forget about it.

The film isn't without its point and purpose: War is a not a good thing. Well, isn't that original! The moral is so obvious that it is almost embarrassing to even point it out. And even that feeble insight is undercut by a story in which elements of war -- war toys in particular -- are clearly a bad thing, until they need an exciting climax and the film simulates a war using innocent toys. It's like someone preaching a stern, condescending sermon, only to end by saying "Just kidding."

But even as an empty box, the film fails close scrutiny. Yes, it is a sight to behold with some remarkable, striking images. The sets are imaginative and the cinematography catches the colorful scenes with skill. But the images are cold and emotionally sterile. Like the screenplay, the look of the film is joyless and at times aesthetically barren and surreal. It is a film that wants to praise toys as wonderful and special things, yet shows them to be creations of a world that is empty and cold. The film strives to be funny, in a morose sort of way, but the humor is forced and artificial. Robin Williams, as the beleaguered heir to a toy manufacturing empire, tosses in his ad-lib shtick, which only seems alien to the bizarre, coldly structured world he is inhabiting. Indeed, the topical references and tasteless sexual innuendo that are scattered throughout are jarringly contradictory to the childlike fable the film is vaguely trying to be. For this film to work, or make sense, it needs to be set in its own universe, an Oz far removed from Kansas. Every time the jokes jerk us back into reality, the toyland of the film increasingly becomes an obvious sham.

It is said that this was director Barry Levinson's pet project, one that he had been striving to get made for ten years. It is sadly obvious why he had trouble getting backing. Like most pet projects that finally get made (RADIOLAND MURDERS, RADIO FLYER & BATTLEFIELD: EARTH being great examples) it seems to be a blind spot in the filmmaker's field of vision. Perhaps Levinson directed and redirected TOYS so often in his head that he no fresh vision for it when he finally got on the soundstage. He had already perfected it to death.

Many of the toys featured in the film are clumsy, mechanical, wind-up monstrosities. So is the film itself.


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