Director: Peter Docter
Screenplay: Pete Docter, Meg LeFauve, Josh Cooley
Starring: Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, Mindy Kaling, Richard Kind, Kaitlyn Dias, Diane Lane, Kyle MacLachlan
Synopsis is here:
It’s easy to say that Inside Out is a return to form for Pixar, who have “struggled” with their recent output. Yet even the studio’s weaker efforts are of a higher standard than regular mainstream Hollywood output. Despite the amount of
However, this latest entry into the Pixar chronicles, certainly deserves to be in the upper echelons of their hall of fame. It’s a movie that shows that once again, when Pixar land upon the right concept that fits their own particular brand of emotional storytelling, they really hit the mark.
The likes of Wall-E (2008) took their characters into the far reaches of outer space. Now we approach inner space as we navigate the universe of the human body. Not just any human body, but that of an 11 year old girl. Inside Out is set in the mind of Riley, who has just been informed by her parents that they will be moving from the Midwest to San Francisco. Her emotions - Joy, Sadness, Disgust, Anger and Fear - who control and shape Riley soon find themselves in an inner conflict as they try re-examine and
What makes this premier Pixar is the sharpness of execution. The concepts that the film are placing forth are deceptively complex when we place them in consideration, yet Pete Docter’s film delicately implements the profundity of human emotions and not only makes the idea digestible to the young, but palatable to adults in a way that is never condescending, and always relatable. It does this during an era in which larger studio films seem to be petrified to even attempt at what Inside Out is trying to do. The film’s main message, which debates and succeeds in explaining why emotion is needed, is not only thoughtful, but suddenly necessary when we consider how our cinematic culture is troublingly stumbling around the human condition. Negative reactions towards Inside Out have stated that the film is depressing, as if only half of the film's message has been taken on board.
Amusingly to complain that the film isn’t as overly optimistic as some would like, only details how this era of cinematic universes, alternate timelines and forced happy endings with non-subtle hints of continuation, have effected audiences.
The honesty which lies in Inside Out points the film out as one of the most mature mainstream films of the year. This is not to say that mainstream cinema hasn’t been enjoyable, it certainly has been. However, it’s feeling like fewer have really asked the audience to consider themselves in the same way as Pixar’s does. The films smartness is subtle. Observe the moments when we leap into the minds of other characters and see who leads the charge in each. Joy is the head honcho in Riley’s head. We move across to her father’s head and we see that it’s Anger that rules the roost. A factor the quietly coincides with the outer framing of the film (the house move has not been smooth). Notice the sophistication that takes place when the emotions fight over
The amount of the thought that’s placed into sight gags is equally as striking. A blink and you miss it joke about
This is what Pixar does best. Within such a hefty concept they never forget to construct relationships and emotions in a way that other filmmakers seem uninterested in pursuing. Whether the power of commerce may refrain others from really letting loose, I do not know. But it says a lot that it’s a Disney Pixar movie I’ll need to go to in order to watch a film happily reference Avant grade art in a realm of abstract thought.
The animation isn’t the most rousing of Pixar’s work, while Amy Poehler’s spunky and sprightly performance will only truly feel like inspired casting for those who know nothing of her past works, yet Inside Out still provides deeply absorbing, high quality entertainment from start to finish. Whether your
*Note: I wonder if the film at any point reminded anybody of the French/