Directed By Kelsey Mann

Starring – Amy Poehler, Phyllis Smith, Lewis Black

The Plot – Teenager Riley’s (Kensington Tallman) mind headquarters is undergoing a sudden demolition to make room for something entirely unexpected: new Emotions. Joy (Poehler), Sadness (Smith), Anger (Black), Fear (Tony Hale) and Disgust (Liza Lapira), who’ve long been running a successful operation by all accounts, aren’t sure how to feel when Anxiety (Maya Hawke) shows up. And it looks like she’s not alone.

Rated PG for some thematic elements.

Inside Out 2 | Official Trailer (youtube.com)

POSITIVES

Capitalizing on a sequel to arguably one of Pixar’s most universally praised films is no simple task, especially in losing the dynamic directorial duo of Pete Docter and Ronnie Del Carmen, but Mann and fellow screenwriters Meg LeFauve and Dave Holstein serve up justification in the depths of a teenager, which only further emphasizes the sharp emotional shifts of Riley as she faces the most rocky and turbulent moments of her youthful life. Like most Pixar films, this is another delve into subject matters that most kids movies wouldn’t dare touch, with sections pertaining to puberty, social awkwardness, and even panic attacks that make for some truly creative sequencing in the animation, but all the while giving us a deeper grasp on Riley’s characterization, which feels noticeably improved from its predecessor. This allows the balance between introspective and reality to feel more satisfying in terms of its usage, which keeps both simultaneously running arcs fresh in the ways that neither overstay their welcome, but besides that appraises value to the stakes in circumstances that constantly overwhelm our adolescent protagonist, which both sides of the moviegoing audience, adult and child, will find tons of appreciation in entertainment value and even familiarity that is entirely relatable. On top of the script, the animation receives a noticeable upgrade in the nine years that have passed, with impressive detail in definition that was a visual splendor to see on the big screen. While I could easily gush over the impressively clever detail in backdrops that correspond with the hostile takeover for Riley’s mind that proves the artists have done their homework in materializing something that is every bit symbolic as it is stimulating, the real praise goes to the seamless progression in character designs, which vividly articulate seamless aging and even complexion, without sacrificing the familiarity of the little girl we grew to adore during the first film. I say complexion because Riley, like all of us, is stricken with braces and sporadic acne, and while the former has occasionally been seen to mock antagonist characters in animated films, I truly can’t remember a time when zits were utilized to convey meaning and merit to the construct of a character’s age, solidifying that air of authenticity and honesty that I truly appreciated the movie taking, even if it shattered the stigma that all characters in animated movies or otherwise should look like models. As expected, Riley’s subconscious is just as lusciously colorful and chaotic as ever, and with the expansion of the world-building from beyond, we’re treated to some truly dazzling sequences pertaining to tenderness and vulnerability that are executed brilliantly by an animation studio that still feels second to none, in terms of artistic ambition or articulate capability. The vocal work also goes a long way towards making the engagement a downright delightful one, with returning ensemble and decorated newcomers each eliciting an esteemed energy that proves nobody phoned it in with this sequel. On the outside of things, fifteen-year-old Kensington Tallman is a delightful addition to the engagement, bringing an underlining cadence in innocence to Riley’s absorbingly immature demeanor that has the audience feeling all kinds of emotions towards her, in the same vein as a typical teenager, and on the outside the triumphant trio of Poehler, Black, and newcomer Maya Hawke, do most of the heavy lifting, with the latter noticeably stealing the show from her co-stars. While Poehler and Black are still irreplaceable in the depths of their respective characters, with deliveries that make it impossible to even blip on who they’re portraying, even with our eyes closed, it’s Hawke’s obscured familiarity that is most impressive, combining an anxiously exaggerated tone and unchained exhilaration to her deliveries that seamlessly make her indistinguishable in the role, all while quite literally chewing as much scenery as possible in order to deconstruct Riley’s once peaceful existence. Lastly, I would be doing a grave disservice if I didn’t mention the intensified tones from Andrea Datzman’s mesmerizing score, which sees her stepping into the composer’s chair, after serving as the score coordinator in the original film. Datzman proves the promotion was prominently warranted, with underlining emphasis during so many tense and tender sequences that serves as an emotional undertow to pull audiences down. Considering the film’s tonal capacities mirror those of Riley’s inner-warfare, Datzman has the incredible feat of tapping into each of these in ways that echo without intruding, and while much of the film’s somber and dramatic beats lend themselves to the remarkable work of the aforementioned ensemble, Datzman’s impact simply can’t be understated, serving as the puppeteer who commands the strings that connect to the hearts of her defenseless audience.

NEGATIVES

While ‘Inside Out 2’ is able to allude or improve upon much of my issues with its predecessor, one such problem pertaining to a lack of subtlety still persists, resulting in hand-fisted bouts with exposition and dialogue that quite literally spells things out often. It’s quite obvious that the movie’s dominant audience demographic is children, so it’s somewhat forgivable that the script has to make it as digestible as possible to them, but considering Pixar is a studio that transcends the child exclusivity, with their films appealing to adult audiences just as much, some audiences will find displeasure in a film that leaves little to subversive interpretation, resulting in smart material that is approached with sign language. On top of this, the aforementioned 91-minute run time does feel like it significantly short changes particular arcs and supporting characters, all the while forcefully influencing the pacing in ways that constantly race to the finish line. On storytelling, this pertains to Riley’s friendship with two other girls, which is deconstructed just as quickly as it was constructed, all while undercooking its emotional significance in ways that could’ve added a deeper cost to Riley’s shallow focus, but instead serves as just background fodder to the internal struggle for power that attains a majority of the film’s stakes. As for the character struggle, while there are a ton of emotions to depict in a teenager, there are simply too many at this point for a film that barely clocks in at an hour-and-a-half, leaving some easily forgettable with nothing to impact the film’s primary focus. For my money, I honestly would’ve just had Anxiety be the lone addition to this installment, especially since he/she drives the entirety of Riley’s strange decisions, but instead Anxiety is surrounded by three characters that are nothing more than convenient plot devices to get to the next segment, made even more constricted with little wiggle room in opportunity for them to capably stand out. Finally, though a problem that won’t concern many people, I find another derivative structure to a Pixar sequel a familiar pattern in their history, leaving this film feeling a bit too safe in catering to a proven formula. When you look at films like ‘Toy Story 2’ or ‘Cars 2’, they are sequels that keep the general outline of their respective predecessors, with ‘Inside Out 2’ being the latest of this pile, and while the extensive world-building does take the story to deeper depths to further flesh out the rules and realities of this subconscious world, I wish more time was spent deviating away from Riley’s new phase, an emotional struggle for power, and those emotions going on a long-distance journey to find their way back, which were vital aspects of its predecessor that keep this one ultimately from succeeding it.

OVERALL
‘Inside Out 2’ isn’t quite on the original or complete level of its iconic predecessor, but it is a more than worthy sequel deserving of audience appreciation, as a result of evolving animation and human vulnerabilities that Pixar have built an empire on. While the creativity is confined to a brief-but-impactful run time, the mesmerizing charisma of its radiant ensemble keep its heart feverishly beating, inspiring a secondary installment that both kids and audiences can enjoy once more, especially as the experiences veer a little closer to home than most kids movies are privy to.

My Grade: 7/10 or B-