Inside Out 2: A wild emotional rollercoaster

Inside Out 2 (2024) • View trailer

Four stars (out of five). Rated PG, for no particular reason

Available via: Movie theaters

By Derrick Bang • Published in The Davis Enterprise, 6.16.24

Nobody could have expected this film to live up to its brilliant 2015 predecessor, which earned a well-deserved Oscar nomination for its ingenious script.

 

While Joy (yellow), Disgust (green) and Anger (red) watch with horror, Envy (turquoise)
and Anxiety (orange) seize control of their beloved Riley's behavior, with disastrous results.

But this sequel comes darn close, thanks to an equally clever narrative touch that establishes a solid reason to revisit these characters.

Recall, from the first film, that young Riley’s life was upended when her parents (voiced by Diane Lane and Kyle MacLachlan) moved them from the Midwest to San Francisco. This shattering adjustment taxed the skills of the emotional avatars in Riley’s noggin, who collaborate to keep her every thought and action (somewhat) under control: Joy (Amy Poehler), Anger (Lewis Black), Sadness (Phyllis Smith), Fear (Tony Hale, taking over here for Bill Hader) and Disgust (Liza Lapira, similarly replacing Mindy Kaling).

 

Several years have passed, and Riley (Kensington Tallman) has become a well-adjusted middle-schooler: intelligent, kind-hearted, generous and blessed with a pair of inseparable besties: Grace (Grace Lu) and Bree (Sumayyah Nuriddin-Green). They do everything together; they’re also members of the school hockey team, where Riley is a shining star who — as the academic year concludes — has attracted the attention of talent scout Coach Roberts (Yvette Nicole Brown).

 

It has been smooth sailing for the emotions, and Joy — their de facto leader — is delighted by the way they’ve molded Riley into a “good person” via careful manipulation of their complex control panel.

 

Even so, the first hint of trouble concerns the means by which Joy has brought everyone to this happy moment: a classic case of good intentions destined to go awry.

 

But that comes later. Far more seriously, these five emotions are aroused one night from their slumber — Riley being similarly asleep — by the relentless soft beep-beep of a previously unnoticed red monitor light ... which suddenly erupts into a shrieking klaxon.

 

As it happens, Riley had just celebrated her 13th birthday. And that red button?

 

Puberty.

Inside Out: An animated masterpiece

Inside Out (2015) • View trailer 
Five stars. Rated G, and suitable for all ages
By Derrick Bang • Originally published in The Davis Enterprise, 6.19.15

Sheer genius.

After stalling a bit in recent years, Pixar has reclaimed its throne of brilliance, thanks to the impressively imaginative Inside Out, one of the most entertaining and ingenious metaphors ever brought to the big screen.

Joy, right, is horrified to discover that a mere touch from Sadness can transform a yellow
sphere — representing a happy memory — into one of sorrow. What will this do to the
long-term memories carefully stored within their host little girl's mind?

Mind you, it’s not that Cars 2, Monsters University and Brave were bad films; far from it. But they were disappointing nonetheless: the first two driven more by merchandising and less by a heartfelt reason to continue their storylines, as was realized far better by the Toy Story trilogy. More to the point, all three recent films lacked the inspirational, outside-the-box snap, crackle and pop that has characterized so many of Pixar’s efforts.

It’s their own fault, really: Set the bar high, and fans arrive with expectations.

All of which are met, and then some, by the wonderful Inside Out. By turns exhilarating, wildly euphoric and poignant, this modern-day fairy tale offers perceptive insight into how (and why) we deal with love, happiness, family ties, crushing disappointments and all sorts of routine daily successes and failures, along with a rather droll suggestion of what might be happening when our lives feel “out of balance.”

Director Pete Docter (Monsters, Inc. and Up) concocted a strikingly savvy premise, then shaped it into a thoroughly engaging script with co-writers Josh Cooley and Meg LeFauve. In a way, it’s the Monsters, Inc. concept writ much larger: Instead of merely establishing a reason for nightmares, Docter & Co. have built an entire fantastical explanation for all human behavior.

In short, we’re governed by an uneasy alliance between five key emotions — Joy, Fear, Anger, Sadness and Disgust — which take turns operating  a complex control center within our minds. Too much of any one emotion results in instability, manifested in the outer “real” world by bewildering (to others) behavior.

But it’s much, much deeper than that, as gradually revealed in the charming saga of  Riley, whom we first meet as a gurgling infant born to her delighted mother (voiced by Diane Lane) and father (Kyle MacLachlan). As she’s delivered into the world, Riley’s mind receives its first emotion: Joy (Amy Poehler), awestruck by what she sees “through” her infant host’s eyes.

Joy is further surprised by the creation and immediate storage of the baby’s first memory, wrapped in a protective, bowling ball-sized soft yellow sphere: the color of Joy herself.

But infant frustration quickly follows, cueing the arrival of Anger (Lewis Black); he’s soon joined by Fear (Bill Hader), Sadness (Phyllis Smith) and Disgust (Mindy Kaling). Over time, as Riley (now voiced by Kaitlyn Dias) grows into a rambunctious adolescent — encouraged to do so by her doting parents — her myriad memory spheres are predominantly yellow ... because what is childhood, if not a period of great joy?

But matters are destined to get more complicated.