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    Emotional Animation

    Pixar's Inside Out might make you emotional, and that's the point

    Alex Bentley
    Jun 19, 2015 | 12:00 am
    Pixar's Inside Out might make you emotional, and that's the point
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    With its first 11 feature films, Pixar accomplished something no other studio could ever match: an unbroken streak of stellar films. Then it put out the universally derided Cars 2, followed by two so-so films (Brave and Monsters University), and it was fair to wonder if the studio could ever recover the magic it once had.

    Thankfully, that magic is back and then some, with Inside Out, easily Pixar’s most emotional film to date. And that’s not just because the main characters are literally emotions inside the head of an 11-year-old girl named Riley (Kaitlyn Dias): Joy (Amy Poehler), Sadness (Phyllis Smith), Fear (Bill Hader), Anger (Lewis Black) and Disgust (Mindy Kaling).

    Up to now, Riley’s life has been mostly full of joy, as embodied by her core memories that rule her life, such as family, friends and hockey. But when her family moves from Minnesota to San Francisco, her emotions start to get a bit out of whack, especially Sadness. When Joy tries to prevent Sadness from overtaking the good memories, all heck breaks loose, and the two of them must go on a journey through Riley’s mind to try to bring happiness back into her life.

    The plot is an extreme high-wire act, as the film has to balance both the life of Riley and the actions of her emotions, which are as abstract as you can get. Yet somehow writer/director Pete Docter and the Pixar team make the inner workings of the mind seem as natural as anything else they’ve ever presented.

    This is mainly due to the seemingly endless creativity they put on display. Memories are stored in spheres, vacuum tubes whoosh those memories to the various nooks and crannies of the mind, a Train of Thought runs throughout, and Long Term Memory stores the millions of things you’ve experienced in your life, even ones you may not want to remember.

    But it’s far from just the visual aspects that impress. As they’ve done at their best, Pixar keeps the story simple enough for younger kids while also including details that appeal to older kids and adults. This is especially true with this film, as it features concepts that are only fully understandable once you’ve lived a good amount of life.

    The truisms the film espouses are simple, but also ones that seem to be made clearer through the prism of Pixar. Everyone knows that no life can be filled with only joy, but that doesn’t stop us hoping for it, especially when parents think about their own children. Parents will want to come fully stocked with tissues, as multiple moments are likely to elicit tears.

    The pitch-perfect voice casting doesn’t hurt matters, either. Poehler exudes pure joy, Hader’s neurotic voice is a great match for fear, Kaling’s Valley Girl delivery makes her a fit for disgust and Black, as he’s shown for years on The Daily Show, is the epitome of anger.

    But for my money, Smith, previously best known for her work on The Office, is what makes the film work the most. Her line readings as Sadness are flawless, turning a character that could’ve been monotonous and one-dimensional into the heart of the film.

    That the Pixar team could make an enthralling, moving and downright fun movie about the emotions a little girl feels when she’s faced with a major life change just reinforces the idea that they are the best filmmakers in the business.

    The emotions — Anger, Disgust, Joy, Fear and Sadness — inside the head of the 11-year-old Riley in Inside Out.

    Scene from Inside Out
      
    Photo courtesy of Walt Disney Studios Motion Pictures
    The emotions — Anger, Disgust, Joy, Fear and Sadness — inside the head of the 11-year-old Riley in Inside Out.
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    Movie Review

    Dark comedy Friendship covers male bonding with copious cringing

    Alex Bentley
    May 16, 2025 | 4:16 pm
    Tim Robinson and Paul Rudd in Friendship
    Photo courtesy of A24
    Tim Robinson and Paul Rudd in Friendship.

    Comedian Tim Robinson has gained a cult following thanks to series like Detroiters and I Think You Should Leave, in which his brand of cringe comedy is on full display. The former Saturday Night Live writer/performer has had a few small movie roles over the years, but he’s now getting his first starring role in the off-kilter Friendship.

    Robinson plays Craig, a mild-mannered suburbanite with a wife, Tami (Kate Mara) and son, Steven (Jack Dylan Grazer). Craig has a boring life that involves little more than going to his middle manager job while wearing the same clothes day after day, anticipating the next Marvel movie, and helping Tami out with her at-home floral business.

    He gets a jolt of energy when Austin (Paul Rudd) moves into the neighborhood. The two men seem to hit it off, with Austin - a weatherman at a local TV channel - even taking Craig on a couple of impromptu adventures. But when Craig commits a couple of faux pas at a group gathering at Austin’s house, their bond starts to fracture.

    Even though the film is written and directed by Andrew DeYoung, it’s clear that Robinson had a big influence on the style of comedy it features. There are no big set pieces with a slew of jokes coming one after another. Instead, the film forces the audience to try to vibe with the very particular type of wavelength it’s giving off, one that could almost be called anti-comedy for the way the laughs come out of left field.

    The 100-minute film is full of random comedic moments, like Steven kissing Tami on the lips, Craig being obsessed with his plain brown clothes, a group sing-along, and more. More often than not, it’s the way Craig reacts to both normal and abnormal situations that gets the laughs. The character is needy and oblivious, two traits that combine to make many of his actions cringeworthy.

    Perhaps most importantly for this type of movie, there are many things in the story that go unexplained or don’t make sense. Seemingly crucial elements are brought up only to fade away just as quickly, while other parts that appeared to be throwaway sections get callbacks later in the film. DeYoung and Robinson are determined to keep the audience on their toes the entire time, never knowing what to expect next.

    Robinson has the perfect face for a story like this, one that’s bland enough to blend into the background but memorable enough to sell the jokes. His demeanor is also excellent, never becoming too expressive, even when he gets angry. With long hair, a mustache, and a certain swagger, Rudd is a great complement to Robinson. Only in a film like this would an everyman like Rudd be considered the suave and cool one.

    There will be some that will see Friendship and come away wondering what the hell they just watched. But anyone who goes in knowing that they’re about to witness a comedy that challenges their sensibilities will likely have a great time.

    ---

    Friendship is now playing in select theaters.

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