Keanu Reeves has become one of Hollywood’s most enduring icons, with a career stretching back over 35 years and multiple roles in cinematic classics. Once dismissed as an unconscionable lightweight, he’s stood the test of time and displayed a range that would shock his early critics. From Bill and Ted to the ongoing Matrix and John Wick franchises, there have been many high-profile favorites to choose from. But part of his formula has been to take smaller parts as well as big ones -- seeking roles that suit him rather than constantly headlining. It earned him praise in movies like As Good as It Gets, where Jack Nicholson and Diane Keaton were the stars, and helped cement his reputation as a reliable actor as much as a star.
That tendency gave him a choice role in what thus far has been his most acclaimed film, in which he similarly plays a supporting role. It was Toy Story 4, which earned a mascot in his sensitive Evel Knievel clone that defined its central dilemma. The movie wasn’t Reeves' alone -- far from it -- but his presence helped push it to unprecedented heights: a 97 percent rating on Rotten Tomatoes and commiserate “Universal Acclaim” tag to its 84 rating on Metacritic.
The movie itself maintained the sky-high reputation of the previous three Toy Story films seemingly without effort. Fourth parts are usually associated either with larger franchises like the Harry Potter movies or -- far more typically -- the sad final chapter of a franchise well past its creative prime. Toy Story 4 once again pulled off a magic act, expanding its universe of sentient playthings in an entirely unexpected direction by dealing with what the previous movies had treated as taboo. Lost toys, once considered the worst fate any of the protagonists could suffer, are revealed to be just living a different and more self-sufficient lifestyle.
Reeves' character, Duke Caboom, embodies that idea. He’s a variation of a 1970s Knievel toy, with a ramp that charges the wheels on his motorcycle, letting him zip forward under his own power. Caboom is a Canadian toy -- parodying the American Knievel’s flamboyantly patriotic uniforms -- who suffered lingering trauma when his owner Réjean rejected him as a Boxing Day gift. His perceived failure continues to haunt him, even after he makes a new life with his fellow abandoned toys. Only in the end, when he proves to himself that he’s always been exactly what he wanted to be, does he put the past to bed.
The role fits Reeves like a glove, with real heart and humanity beneath the obvious gag about a daredevil from a country known for its mild-mannered populace. His pain at rejection is very normal and easy to empathize with, despite the exaggerated tragedy at what amounts to a child being mildly underwhelmed by a gift. Caboom is undone by something beyond his control -- a commercial promising far more than the toy could deliver -- and as ridiculous as the circumstances are, Reeves sells the reality of the character’s pain while still being fully in on the joke.
More importantly, the character fits into his universe without a ripple. The Toy Story films enjoy mixing actual playthings like the Potato Heads with original concepts such as Buzz Lightyear that feel real, even if they aren’t. Caboom is right in that wheelhouse, with obvious inspiration from an existing toy but given his own clever spin on it. Reeves gives him humor, soul and eventually a Zen acceptance of life’s beauty, all with tongue planted firmly in his cheek.
It’s telling that the Toy Story franchise made characters like Caboom second nature. Toy Story 4 does that and more with a plethora of terrific new figures who somehow don’t steal time from franchise stalwarts like Rex and Jessie the Cowgirl. Reeves’ performance matches those of the rest of the cast, dedicated to the project first while making the universe feel incomplete without this new character as a part of it. It’s as strong a demonstration of his skills as any of his more high-profile star vehicles.