Inside Out/Rated PG/94 min./Pixar Animation Studios/Dir. by Pete Doctor and Ronaldo Del Carmen
"Silly grown-ups, animation's for kids!" This antiquated, wrong-headed, unsupported notion is alive and well and there was a time, perhaps, that there was a sliver of truth to it. After all, the original Disney animated classics, while filled with unquestionable and complex artistry, were also clearly aimed at the tykes. Snow White, Dumbo, Pinocchio....they all had very simply constructed plots designed to support one or two clearly laid-out morals: Kindness will always win, believe in yourself, smoking and drinking will turn you into a jackass, literally.
However, at the same time that Uncle Walt was making these carefully crafted morality tales, he also spearheaded Fantasia and Bambi. Fantasia being a film that still challenges and enthralls adults of all ages, and Bambi, one of the most lyrical visual tone poems ever conceived.
There have been 80 years worth of films proving that animation is an art form, pure and simple. It's a means of telling a story, not a genre unto itself, which is to say that a film being animated shouldn't indicated it's target audience anymore than a film being in 3D or in color should. In the past 20 years, makers of animated films have created more complex narratives that work on multiple levels to enlighten and entertain regardless of age. Often this has been done by creating plot and action for the kids and jokes for the adults.
Well, right now there is a masterpiece playing at your local movieplex that flips that formula on its head. The film, Inside Out, is a film that is really aimed at adults, but it has action, color, and humor that will keep young 'uns engaged. There is such artistic nuance on display in every frame, such thoughtful detail in the plot construct, such profound truth laying at its core, that dismissing it as a kid's movie is a huge disservice. Yes, it's definitely kid appropriate (it really should be rated G) and children will love it, but it is, quite simply, one of the greatest examples of film art of this decade.
As the film begins, we not only witness the birth of a little girl named Riley, but we see the emergence of her emotions, personified by Day-Glo colored characters that live in her brain and guide her through the use of a control panel. When she needs to be careful, they let Fear (Bill Hader) take the wheel. When they're unsure of a new food, they send in Disgust (Mindy Kaling). Anger (Lewis Black) makes sure that things stay fair and Sadness (Phyllis Smith)....well, no one's really sure why Sadness is necessary at all. The defacto leader of the group is Joy (Amy Poehler), a yellow colored sprite in a breezy summer dress who keeps things running smoothly.
As Riley creates memories, little glass balls are created as a holding case for the memory and the important core memories, the experiences that had the most profound effect on Riley's personality are placed near the control center as core memories. Joy feels no small amount of pride that all of the core memories are bright yellow because of her influence.
To go any more into the construct of the wonderland inside Riley's head would ruin the surprises of this film, and there are many. Suffice it to say that after Riley moves to a new city, Joy and Sadness accidentally get separated from the control center, leaving the pre-teen girl at the mercy of Fear, Anger, and Disgust. I have a feeling that there are many times that pre-teens know exactly how that feels.
One of the most amazing things about Inside Out is the plethora of lessons to be learned. I recently read a review in which someone said this is one of the rare films that could actually make you a better person and I couldn't agree more. The plot is carefully constructed with many themes, all designed to pounce on your mind and your heart depending on where you are in your own life. I have no doubt that I'll be learning new things from watching this film in years to come.
The voice casting could not be more perfect. Poehler and Smith become the main protagonists and the two actresses interact superbly. Poehler brings the same almost manic energy to the role that she did on Parks and Recreation, but as she slowly begins to understand the importance of all emotions, especially Sadness, she switches gears delivering a tender and heart-breaking performance that sticks with you as much as Ellen Degeneres did as Dory in Finding Nemo. Initially, Smith portrays Sadness as an animated Debby Downer, but through a soft and subtle performance, she creates a fully realized, three-dimensional character and will be treasured for years. Kaling, Hader, and Black mostly supply the comic relief, but they interact with each other with a gonzo comic energy that lights up every one of their scenes.
Visually, Inside Out is a stunner. From the vast caverns of long-term memory to the surreal room of abstract thought, the filmmakers back this movie with images to tickle the brain and dazzle the eye. It is, quite simply, beautiful to look at.
Basically, just go see this movie. See it multiple times. It has spurred more thoughtful conversations over the last three days since I watched it than has any film over the last decade. After a few films ranging from frustrating to disappointing, Pixar is back with an insta-classic that will stand proudly next to their best. If the Academy didn't have a clear bias against animated (a.k.a. kid's) films, this would be a sinch for a Best Picture nomination.
Grade: A very enthusiastic A+
