Greetings again from the darkness. In the age of sequels, here’s one we can actually give a warm welcome to. Pixar has followed up the brilliant INSIDE OUT (2015) with one that picks up Riley a couple years later as she hits those teenage years, which as all parents know, means puberty. The first film won the Oscar for Best Animated Feature, and director Kelsey Mann (in her first feature film) is hoping for a repeat. This follow-up is terrific, yet it faces some tough competition in a year that also delivered three other exceptional (and worthy) animated features.
I have described this film to a few people as a “must see” for any parent of an adolescent heading towards the teenage years. What we get is a pretty accurate depiction and clear description of some of the changes on the horizon. The emotions from the first film: Joy, Disgust, Fear, Anger, and Sadness evolve into and clash with emotions significantly more complex: Anxiety, Envy, Ennui, and Embarrassment.
Amy Poehler is back voicing the energetic Joy, Lewis Black returns as Anger, as does Phyllis Smith as Sadness. New voices here include Kensington Tallman as (older) Riley, Liza Lapira as Disgust, and Tony Hale as Fear. The new emotions are voiced by Maya Hawke (Anxiety), Ayo Edebiri (Envy), Adele Exarchopoulos (Ennui), and Paul Walter Hauser (Embarrassment). And don’t worry, Pixar good luck charm John Ratzenberger is back as Fritz … along with plenty of other Pixar Easter Eggs throughout.
Riley is a star hockey player hoping to make the big step to the next level as she enters high school. The coach has her eye on Riley and invites her to hockey camp … if only those new messy emotions don’t get in the way. The awkward stage of keeping old friendships (Grace and Bree) while trying to fit in with the older kids is front and center here – and it doesn’t always go smoothly. It’s kind of fun to watch as Joy struggles to make sense of this new world. Suppressed emotions and sarcasm catch her off guard, and she looks to be losing her spot at Riley’s control panel.
As we have come to expect, Pixar visuals are spectacular and play a key role in telling Riley’s story. Maturing is rarely smooth sailing, and the film, co-written by Meg LeFauve and Dave Holstein, pulls no punches. They even include “Pouchy”, a take-off on Toodles from “Mickey Mouse Clubhouse”, as one who can deliver special help when needed. The biggest tug-of-war for control of Riley occurs between Joy and Anxiety, and it’s as painful to watch as it is to live through … although much more entertaining in this context. Pixar has delivered more than just another superb animated film; it’s a starter kit (and cautionary tale) for parents and soon-to-be teens alike.
Movie Reviews from the Dark 