Movie Review - Inside Out

Inside Out *** (out of 5) (PG) Throughout cartoon history, conflicts within a character’s mind were usually depicted by a tug-of-war between angelic and devilish avatars on each shoulder, arguing the morality of an imminent choice. This Disney/Pixar extravaganza ramps up the personification factor into a semi-scientific seminar on neuroanatomy and psychology, spending most of the film inside the head of a girl named Riley, from birth to adolescence. Several moments are hilarious; everything on the visual side is exceptional (Duh. It’s Pixar, and nobody does animation better.); most viewers of all ages will be entertained, and perhaps even enlightened, to one degree or another.

Riley’s brain is shown as a control tower, in which five embodied emotions (Joy, Sadness, Fear, Anger and Disgust) play roles in guiding her actions and coloring her memories. The latter also affect how she views and responds to each situation she faces. Riley is idyllically happy, with Joy solidly holding sway over her colleagues, until the family suddenly moves from rural Minnesota to San Francisco for dad’s new career venture when she’s reaching middle-school age. Unfortunately, that drastic change coincides with internal developments her quintet of emotional managers can’t quite grasp or handle. Joy’s supremacy loses ground to Anger and Sadness, resulting in bad moods, surly words and acts of rebellion. In sum, big stresses arrive just as Riley becomes a teenager.

The character designs and voice cast breathing life into these five emotional states should guarantee big bucks on the merchandising end. Amy Poehler contributes her usual stellar work as Joy; casting curmudgeonly comic Lewis Black as Anger was a stroke of genius; he was born to the role. The massive landscape comprising Riley’s memories and hosting a frantic Odyssey to restore her crumbling sense of identity, will inevitably resurface as a dazzling theme-park ride.

Pete Docter shares writing and directing credits, following similar contributions to smash hits like Up, Monsters, Inc., WALL- E and the first two Toy Story features. While the lively-to-frenetic pace of the action, and stunning art work - especially effective in 3-D - rival his best work, something about the story seemed off. Admittedly, my reaction may vary from most. Audience response during and after the screening indicated higher levels of joy from kids and adults.

The idea of helping kids understand how we’re all shaped by life’s experiences, as filtered through our mixed bag of emotions, is laudable, especially within an entertaining package. Perhaps I was to literal about the specifics of the interplay of thoughts, feelings and memories, due to the way my own set of filters developed.

Or maybe the opening short, Lava - a somber musical cartoon about a lonely, lovelorn volcano set the wrong tone for this feature. What’s the upside of rooting for a sad, smoldering mountain to erupt with joy at finding a soulmate? Ever heard the term “collateral damage”? Nothing like reminding an audience about the Pompeiis of human history before a light-hearted romp through some kid’s cranium. (6/19/15)