![]() ![]() Her actions are guided by five emotions: the buttercream gumdrop Joy ( Amy Poehler) the baggy blue dollop Sadness ( Phyllis Smith, a.k.a. Though Riley is the heroine we're rooting for, she's basically a human Voltron. Inside Out is as beautiful as it is abstract, as daring as it is intelligent. The movie flies on the wings of an almost too-real message - that sadness is an inevitable and necessary part of life. It would've been easy for any of Pixar's past films to crumple under the weight of such a heavy objective without cute robots, earnest cowboys, squirrel-chasing dogs, and rainbow-hued balloons to lighten things up. That emotional fissure in Riley's psyche is where Inside Out lives, as Docter and Del Carmen (who co-directed and co-wrote the film with Meg LeFauve and Josh Cooley) explore universal feelings like joy and sadness, boil them down to their elemental cores, personify them, and invite us to see how they shape us and the people we love, one memory at a time.Īttempting to anthropomorphize human thought and emotion is a daunting, conceptually challenging task. She's talking to her parents, who have moved the family from bucolic Minnesota to the intimidating city of San Francisco. "You need me to be happy," says 11-year-old Riley ( Kaitlyn Dias), the movie's precocious protagonist, during one of the film's most poignant scenes. And the tradition continues this summer with the release of Peter Docter and Ronaldo Del Carmen's Inside Out - the studio's most thoughtful and ambitious film to date. I can't even talk about 2009's Up without thinking of that montage, while 2010's Toy Story 3 had that gut-wrenching moment when all the toys hold hands. In 2008, WALL-E made me shed tears when EVE tried to piece the tiny robot back together. Pixar could teach a graduate-level course in making grown adults weep at animated children's movies.
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