Inside Out (2015) Review

"Congratulations San Francisco, you've ruined pizza! First the Hawaiians, and now YOU!"

Emotions are at the core of us as human beings, so it comes no surprise that eventually they would become the topic of cinema, featuring prominently in Peter Docter’s (Monsters Inc., Up) latest directorial effort, Inside Out. But no one could have predicted that such an unusual concept could ever make such a thought-provoking film, especially when you consider that this is an animation, where literal emotive creatures control our actions. Yes, Anger, Disgust, Fear, Sadness and Joy, man a control panel where a few clicks or lever-pulling can result in us throwing vegetables at our parents or managing to pull off a perfect skating move on the ice.

Set in San Francisco, Inside Out documents the move of the Andersen family from their home-town, icy Minnesota, prompting Riley (Kaitlyn Dias) to be uprooted from her ice-hockey loving life and placed in a place where she has no friends, no hobbies and an unsuitably shabby home. This would be enough to annoy anyone, but Riley is determined to stay strong and joyful for her mother (Diane Lane), whilst her father (Kyle MacLachlan) struggles to spend time with her due to work commitments. The emotional strain on Riley’s joy causes her emotions to go into haywire, and when Sadness (Phyllis Smith) inadvertently causes the ejection of Joy (Amy Poehler) and herself from ‘headquarters’, the two find themselves trapped and needing to find a way back home, quick. Left to rule the control panel, Disgust (Mindy Kaling), Anger (Lewis Black) and Fear (Bill Hader) can’t cope, and ultimately cause unimaginable chaos.

It should be noted that the psychological complexity of Inside Out is a particular marvel; never before has a film marketed as a children’s feature been so thoroughly insightful and provocative. The portrayal of what is more commonly known as mixed emotions as normal is reassuring for those who often don’t feel one particular feeling at any given time. The presentation of these compounded emotions is highly significant in the place of Riley’s mind, as while the little people inside her mind struggle, so does she, mimicking the ways in which the brain affect our own actions.

The ways in which the film can be seen in relation to mental health is extremely interesting as ultimately, although Riley has no physical injuries, her mind affects her in such a state that she is willing to run away from home, risking her ‘Islands of Personality’ (family, hockey, goof-ball, honesty and friendship), and not to mention her very sense of being. This draws a strong parallel to several mental disorders such as depression, with Sadness (Phyllis Smith) seeming almost unable to stop herself from turning everything into a state of sadness, with Joy left fumbling in the background.

Ultimately however, the main point of the film is not that we need to eradicate sadness and block it out, but to accept it and the role it plays in our lives. The relationship between Joy and Sadness is one of the most touching ever between two animated characters, with poignant scenes between the two, propelled by the compelling performances of Poehler and Smith. Joy and Sadness finally realise that they can work together to help Riley, as opposed to being polar opposites, and the two emotions bond together to create something that is exceptionally profound for an animated movie. In this case, it seems that animation is doing a better job at succeeding in expressing severe and bitter-sweet emotions than some live-action features, and Docter is able to convey this beautifully on-screen.

The contrast between the bright and magical colours and the decidedly darker nature of the film is particularly intriguing, providing a notable parallel between what we see and what lies under the surface, echoing the films overall concept. Everything from joy’s hazy complexion to the impressive long-term memory structure has been carefully planned and designed, ensuring that the film’s aesthetic is sure to dazzle any audience.

Whilst Disney Pixar’s has had some success with former addition Up, it felt too overdrawn and bizarre in places, whereas Inside Out is a far more inclusive feature, touching on subjects that are relatable to all ages; truly understanding the concept of a ‘family’ movie. The film seems to have marked the return of Pixar to its former glory, green-lighting the possibility for more experimental, concept-pieces in the future.

A truly emotional ride (on the ‘train of thought’), Inside Out is unique in its concept, wonderfully envisioned and bursting with imagination and, yes, joy.