Pixar isn’t blazing any new trails in the realm of critically acclaimed animated cinema. Its parent company, Disney, has been winning Oscars with its hand-drawn masterpieces since 1937. But, the relatively young computer animation studio, through a flawless record of mature, innovative, deftly crafted pictures, has positioned itself atop the heap as a perennial Oscar favorite and permanent resident on dozens of critics’ top ten lists.  With that much success Pixar has painted themselves into a corner of sorts.  It’s bigger news now if a release doesn’t sweep awards shows and make millions of dollars.

Compound that perpetual self-imposed pressure for excellence with the added skepticism sequels of beloved films invariably elicit and you’ve got a recipe for Pixar’s first misstep.  Because really, how long can they keep the streak alive?

Apparently indefinitely.

Released to universal acclaim and box office success in 1995 “Toy Story” marked a new paradigm in animated entertainment.  It came at a time when computer animation was still a novelty and children’s movies were, well, childish (with a few Disney exceptions).  Pixar then defied their own code of original filmmaking by releasing a sequel, “Toy Story 2,” four years later that made even more money and unthinkably garnered even more accolades from critics than its predecessor.  But “Toy Story 3″ seemed almost doomed from the moment it was announced in 2008.  Would this transparently money-driven project take the place of a more deserving Pixar original?  Had the studio begun its Disney-like decline into more cheaply and quickly made sequels to capitalize on previous successes?

Pixar is a business after all, and the introduction of the sequel into their repertoire was an inevitability.  But the studio seems committed to its unorthodoxically stringent quality ethics, and “Toy Story 3″ is the best evidence to support this thought.

Woody, Buzz and the gang are back, and the insurmountable obstacle these sentient, plucky little toys are faced with this time is the departure of their beloved owner, Andy, for college.  Too old to give his loyal plastic friends the playtime they deserve, and after some motherly prodding, Andy decides to donate them to Sunnyside day care.  Their feeling of abandonment is worsened after their initially auspicious impression of the day care facility with promises of endless playtime is quickly dashed by the worn, emotionally damaged toy boss, Lotso, a purple teddy bear with a deceptively charming southern drawl voiced by Ned Beatty.  Imprisoned by Lotso and forced to satiate the destructive tendencies of the younger children, the gang bands together and attempt to escape back to the sanctuary of Andy’s attic.

Pixar’s rendering of humans still falls prey to the Uncanny Valley, though it has improved significantly.  All other aspects of the animation are dazzling.  Colors are rich and beautiful, environments are fully realized with a genuine spacial quality and motion is consistent and believable throughout.

The story isn’t particularly original but there are enough twists and turns to keep things interesting.  Throw in world class voice actors, some references to “Star Wars” and “Cool Hand Luke” and Pixar’s patented non-corny sentimentality and you’ve got a winner.  Although the guilt of throwing out old toys some may experience after watching “Toy Story 3″ will probably lead to hoarding tendencies.  Maybe A&E will create a special “Toy Story”-induced version of their reality show, “Hoarders.”

“Toy Story 3″ is superficially beautiful, perfectly-paced and well structured, and though not as sophisticated as some other Pixar releases, it is heartwarming, redemptive and a relatively mature tale of adventure, betrayal, change and friendship.  If it is indeed the final installment in the “Toy Story” franchise, “Toy Story 3″ is a fitting farewell to America’s favorite talking toys.