![]() ![]() ![]() He is a Ronin of positivity who still pledges allegiance to the Samurai that released him years ago. His body is made of cotton candy, he has a red wagon that can fly and that leaves a rainbow trail, and his serene acceptance of his obsolescence gives him a heroic dimension. He's a creature of pure benevolence who only wants Riley to have fun and be happy. The most endearing and heartrending moments revolve around Bing-Bong ( Richard Kind), the imaginary friend that Riley hasn't thought about in years. The script draws clear connections between what happens to Riley in San Francisco (and what happened to her when she was little) and the figurative or metaphorical representations of those same experiences that we see inside her mind, a parallel universe of fond memories, repressed pain, and slippery associations. Most of the action is of a type that a studio executive would call "low stakes": Riley struggles through her first day at a new school, gets frustrated by her mom and dad pushing her to buck up, storms to her room and pouts, etc. Nothing happens there that could not happen in our world. The world beyond Riley's mind looks pretty much like ours, though of course it's represented by stylized, computer-rendered drawings. It's more like an extended dream that interprets itself as it goes along, and it's rooted in reality. it is not, strictly speaking, fantasy or science fiction, categories that describe the rest of the company's output. And this is where "Inside Out" differs strikingly from other Pixar features. They are visual representations of ineffable sensations, a bit like the characters and symbols on Tarot cards. It's worth pointing out here that all these characters and locations, as well as the supporting players that we meet Meanwhile, back at headquarters, Fear, Anger and Disgust are running the show. The rest of the film is a race to prevent these core memories from being, basically, deleted. A struggle between Joy and Sadness causes "core memories" to be knocked from their containers and accidentally vacuumed up, along with the two emotions, and spat into the wider world of Riley's emotional interior. This makes sense when you think about how nostalgia-which is what Riley is mostly feeling as she remembers her Minnesota past-combines these two feelings. Sadness has done this once before she and Joy are the two dominant emotions in the film. The story kicks into gear when Riley attends her new school on the first day of fifth grade and flashes back to a memory that's color-coded as "joyful," but ends up being reclassified as "sad" when Sadness touches it and causes Riley to cry in front of her classmates. I live in Canada." A "Train of Thought" that carries us through Riley's subconscious evokes one of those miniature trains you ride at zoos it chugs through the air on rails that materialize in front of the train and disintegrate behind it. There's an imaginary boyfriend, a nonthreatening-teen-pop-idol type They're in her phone!") Riley's mental terrain has the jumbled, brightly colored, vacu-formed design of mass market toys or board games, with touches that suggest illustrated books, fantasy films (including Pixar's) and theme parks aimed at vacationing families (there are "islands" floating in mental space, dedicated to subjects that Riley thinks about a lot, like hockey). ("Phone numbers?" grouses a worker in Riley's memory bank. The heroine's memories are represented by softball-sized spheres that are color-coded by dominant emotion (joy, sadness, fear and so forth), shipped from one mental location to another through a sort of vacuum tube-type system, then classified and stored as short-term memories or long-term memories, or tossed into an "abyss" that serves the same function here as the trash bin on a computer. The controller hears what the other emotions are saying, and Sometimes Joy is the dominantĮmotion, sometimes Fear, sometimes Sadness, etc., but never to theĮxclusion of the others. There's a master control room with a board that the five major emotions ( Lewis Black), a flat-topped fireplug with devilish red skin and a middle-manager's nondescript slacks, fat tie and short-sleeved shirt. Who's a rich green, and has a bit of a " Mean Girls" vibe and Anger Smith), who's soft and blue and recessive Fear ( Bill Hader), a scrawny, purple,īug-eyed character with question-mark posture Disgust ( Mindy Kaling), Looks a little bit like Tinkerbell without the wings Sadness (Phyllis "cartoonish" characters: Joy ( Amy Poehler), a slender sprite-type who ![]() ![]() Riley's emotions are determined by the interplay of five overtly Move them from Minnesota to San Francisco, separating her from her friends. Riley ( Kaitlyn Dias), who's depressed about her mom and dad's decision to The bulk of the film is set inside the brain of young ![]()
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