Pixar’s big message is that joy and sadness need to work together, for an ideal life. It may seem corny or too basic a psychology lesson, yet it gives “Inside Out” the same depth that permitted “Up” – also by director Pete Docter – to reduce adults to tears.
I’ve been trying to get my Very Intelligent Friend to appreciate animation more than he does. I have cherry-picked my suggested viewing. I think I am winning, as he agreed easily, this time. Either that, or I am wearing down his resistance.
Riley is an 11-year-old girl. Her parents move from Minnesota to San Francisco. This sound great to me, but Riley’s whole life is rural bliss full of memories curated by Joy, one of five emotions in Riley’s head.
Joy, Sadness, Anger, Fear and Disgust all live inside us, according to this movie. In Riley, Joy (Amy Poehler) is firmly in charge as we see from the affecting memories Joy has planted in Riley.
Just this once, parents get to stay alive throughout the movie. Phew.
San Francisco is muddy looking, Minnesota is pastel and the big vibrant tones are reserved for the tiny emotional controllers of our destiny. It’s all beautiful and very moving. I was on the edge of tears, three times.
Phyllis Smith’s Sadness voice is utterly brilliant.
Too often, I get annoyed by the use of psychology in films. Just this once, everything from tone to colour to music feels pitch perfect.
Loads of celebrity voices are here, if you care about that.
Riley’s inner and outer adjustments and a creative use of hockey combine to make this a rare treat.
We both loved it as did everyone at Stratford East Picturehouse. Adults may well get more out of the superb script than their children. The younger kids here looked puzzled as older folks cackled at puberty jokes.
Pixar, I love you al.