Review: Inside Out

Review: Inside Out
Year: 2015
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 distain critics gave the likes of Brave (2012), it’s still a film with stronger storytelling and jokes than say, Let’s be Cops (2014). It’s more mature too.
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 manoeuvre around the new and dramatic changes that are occurring around them.

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. That Inside Out raises the notion of sadness being one of the things we need in order to grow, puts a lot of the current franchises to shame. Mostly as their arrested development and commercial duties. Refrain from the idea of anything negative really happening to the protagonists, even if they have to save the world.

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 controls and curation of “core memories” and how the outcome of Joy and Sadness’ adventure alters them.

The amount of the thought that’s placed into sight gags is equally as striking. A blink and you miss it joke about thoughts and opinions jumbled becoming jumbled, isn’t just a quick witted moment of jest, but a frank commentary on our times, when we notice how the media now works. The idea of an irritating earworm is amusing on the surface, yet it reaches a deeper level when you notice that one particular emotion ALWAYS triggers the process. That’s no accident. Neither is the observing the shift of dynamics when Joy and Sadness are no longer in control. It’s a film tackling how different emotions alter perception, all under the guise of family fun.

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 favourite moment involves the wonderfully cast Phyllis Smith as the films MVP; Sadness, Anger’s (Lewis Black) hilarious outbursts or even saying goodbye to the youthful parts of your imagination, Pixar once again flex their muscles and distil the intricate and poignant into delightful mainstream enjoyment. That they do so with seemingly such ease makes you wonder just what the guys making so-called adult films are doing.

*Note: I wonder if the film at any point reminded anybody of the French/Japanesse Edutainment Cartoon; Once Upon a Time...Life? It was the first thing the sprang to mind when watching the film.

Review: A Liar's Autobiography - The Untrue Story of Monty Python's Graham Chapman

Year: 2012 (Viewed at the London Film Festival)
Directors: Bill Jones, Jeff Simpsons, Ben Timlett
Screenplay: Graham Chapman, David Sherlock
Starring: Graham Chapman, Philip Bulcock, Terry Jones, John Cleese, Michael Palin, Terry Gilliam, Cameron Diaz

Synopsis is here 

Much like the abstract documentary such as Kurt Cobain: About a son, or the autobiographical American: The Bill Hicks Story, A Liars Autobiography plays old audio of its subject (Monty Pythons Graham Chapman) and sets it to new footage. In this case A Liar's Autobiography is similar to the Hicks documentary, with 17 animation teams have bounded together to create a different visual look for nearly each scene.

The outcome is rather idiosyncratic. The film irrelevantly glances over many aspects of Chapman's life; cheerfully documenting his schooling, the formation of the python name, the realisation that he was homosexual and his addiction to alcohol. The tone is light, breezy with just a touch of crassness about it, joyfully detailing Chapman's delight in indulging of the carnal pleasures. A playful hotel scene highlights Chapman's excess, as he takes a lift downstairs only to bump into a fan and stroll straight back up to have sex with them. Moments later, after heading down the lift again, he spies a younger fan (of age still) and engages with sex with them, with their mum on the telephone, seemingly none the wiser. It's hard not smirk, if not laugh out loud like I did.

The film should also be taken with a pinch of salt, as easily spotted by the title. Chapman himself declares early on that there is only a hint of truth in what he says, and it's clear that the films melding of both fact and fiction is also trying to lock down the man behind the enigma. Whether the film finds it is down to the viewer.

The films featherweight approach is welcoming but also a flaw. The moments of poignancy are quickly dealt with as not to bum the audience out and the films climax fizzles out, leaving us with nothing to gasp onto afterwards. This is clearly not an issue film, but it's final farewell to its subject lacks the emotional weight it could have had. I found myself left knowing as much about Chapman as I did in the beginning; intelligent, witty and fun loving. I could have watched Life of Brian and gained the same.

Review: Toy Story 3

Year: 2010
Director: Lee Unkrick
Screenplay: Michael Arndt
Starring: Tom Hanks, Tim Allen, Joan Cusack, Ned Beatty, Micheal Keaton

Synopsis is here

We've known these characters for over 15 years now and it shows. Watching Toy Story 3 is almost like hanging out with old friends. The films colorful and exciting beginning not only throws you straight into the action but reminds you of how much you may have loved these characters. From those knowing voices to the charming asides, if you've watched the other films in quick succession you may believe like Toy Story 3 has hopped onto the nostalgia train and exploited the cargo as much as Indy 4, Transformers, Predators et all.

Not true.

Pixar have taken one of their tent-pole attractions and enhanced it ten-fold. There's even more at stake now, the scope is larger and the animation is bolder. The (unnoticeable and therefore unnecessary) 3-D hasn't been the big draw for the movie, and why should it be? Pixar have the gall to use their characters, situation and narrative to engross, not the gimmick. To trot out these characters and place them into a flat uninteresting affair (like Sherk 4 which was so naff I didn't even bother to write a review for) is not their style. They take these old friends, place them in a familiar situations (the film still follows similar beats to the previous movies) and managed for the third time to make them feel fresh.

Throughout TS3 the filmmakers of Pixar manage to place a new twist on things that should have been worn out at least a film ago...and they are still amusing. A deluded Buzz Lightyear? A separated woody? Another escape plan? Yes, and it's a formula that works. However it's how Pixar once again arrange the environment that makes the film so interesting. The idea of making children nursery a "retirement home" for toys is a lovely stroke. Turning it into a secret hell and placing the prison break motifs and moments in the film only make things more entertaining.

To me it's the most "action packed" of the three. We get much more activity from everyone in this film. While before we were dealing relationships between the toys, this time we don't need to. The bond is already there, because of this Toy Story 3's set pieces feels a tad longer, a chance for Pixar to show off what they can do with the animation. There's lots of neat touches involving Buzz and Woody, as well as a brilliant running joke involving Mr Potato Head which had me cracking up in my seat. It helps that the relationships started in the first film and strengthened through each sequel which their peak here. The combination of the fondness of the characters and the bolstering of the set pieces once again made me feel for what was going on within the film. A prime example of this happens near the end where, the film (borrowing from it's own creation of Wall-E) manages to conceive a horrible feeling of dread with nothing but the the toys expressions and circumstance that has become to them. Done are they with just telling the you the story, they are showing you. And doing it better than many live action features.

The voice acting again is impeccable, with not wrong turn anywhere. Newcomers like Timothy Dalton and Micheal Keaton fit in perfectly while the old hands of Tom Hanks, Tim Allen, Joan Cusack and other don't sound bored with this at all. There's no feel of phoning it in here. Every voice is pitch perfect and deeply humorous (but then again the screenplay is also sharp).

The most interesting moments of Toy Story 3 however, come during the films final act, where not only the toys deal with their own mortality, but the human characters also come around to certain realizations. It is these moments in which the movie find it's emotional core. While not having the impact of UP or Finding Nemo (maybe it's just me and ideals of family), Toy Story 3 reminds of the fleeting memories of childhood and more importantly the power of creativity. The IFC podcast asked the question on why a computer animation company like Pixar would use the idea of old toys for three films. The answer is answered in the last moments and we realize why these toys are keys to imagination. Pixar may use powerful tools to create their stories, but before all that, it was the physical presence of these toys, their toys, our toys, all toys that sowed the seeds of inspiration. When we leave Andy we know that despite having these toys in his room till he was 17 (?) he's going to be one well adjusted young man.

Review: UP

Year: 2009
Director: Bob Peterson & Pete Docter
Screenplay: Bob Peterson & Pete Docter
Starring: Ed Asner, Christopher Plummer, Jordan Nagai

Plot Synopsis is here

I'm not sure I've said it in my blog yet but I'm sure I've said it in real life; If mainstream Hollywood absorbed half of what Pixar does with every one of their films, then I would be in cinematic heaven. For me it's gone beyond how colourful there movies are, or how great the animation is. Their movies are now nothing short of what I want from ANY film let alone a family film. Today I watched a film which had a montage with more emotion and pathos then the entire 166 minutes of Benjamin Button. I saw action sequences with more invention and thrill behind them than your Fast and Furious' and enough humor to stand against the so-called best comedies of the year. Even then there's more to UP than what I've just said.

It's is hard to top the films sublime almost wordless first act, which details our protagonist and his regret beautifully (it features two of the most heartbreaking moments I've seen in a family film in a long time) but UP manages to maintain it's emotional connection until the end due to Pixar's belief in character and story. These are characters that ring true even if it's they're talking dogs. The filmmakers firmly believe there's a story to be told about a 78 year old man and they believe that people will want to watch it.

This is a story with grand themes of mortality, loss and living your dreams with well rounded characters with real hopes, fears and beliefs. It doesn't insult the viewers intelligence and sell them short. It doesn't just want to tell you the story visually (which it does with aplomb) it wishes to truly engage you with what it has to say about life and the human condition. Human Condition? You may ask.But at times, if it weren't for the more outlandish parts of the film and the bright colours, this could be high drama. UP may be considered a "kids film" but it's one which is brave enough to deal with the death of a family member head on. I admire the films wish not to conceal aspects of life that we must contemplate one day.

But the humor! Oh the humor! Real gags with actual timing! With most family films wringing comedy (celeb) voices for cheap laughs or reverting to bland pop culture for easy jokes, it's just heartwarming to see a film that can make you laugh because the characters are funny. It's not forced, it feels very real. I laughed out loud....a lot. But UP is one of those films.

It's also one of those films that shows true talent within the craft. Co-Directors Bob Peterson and Pete Docter bring about a dazzling array of visual images (bizarrely reminding myself of Herzog's Fitzcarraldo) that aren't just pretty because of the animation, but because they're beautifully staged and full of creativity. For me the house being lifted by balloons will be one of the definitive moments of my cinematic year.

The voice acting is once again top notch which Ed Asner carries the film effortlessly. It's a voice that sounds familiar but isn't really. It's also a layered performance, one not restricted to just grumpy and scared but one which completes the characters poignancy. Asner is aided by the perfectly goofy voice of Jordan Nagai, whose first film endeavor is a lovable one. The villain of the piece is played by Christopher Plummer with a certain sleazy charm.

If I were to nitpick at the film it would be to say that the film is running on fumes slightly by the last act. Many might be a little dismayed by the films villain and how the the final showdown is a little anti-climatic. With this said Pixar have become bigger than simple films about good and evil. UP is a film about making sure that the life you live is one worth living no matter what happens. A moral that a child can truly take to the bank.

Hear more talk about this movie at Geekplanetonline