PIXAR’S INSIDE OUT — A REVIEW BY NICK CLEMENT

 

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I really enjoyed Inside Out. It’s creative, witty, smart, and more than a little LSD inspired. I mean…seriously…when they go “abstract” – get the hell out of here! Ten sheets of blotter that was! This film felt to me like Pixar’s The Lego Movie, in that, it’s a “kid’s movie” that’s been designed almost entirely for adults (even more than Up and Wall-E), the sort of film where the tykes will enjoy the bouncing characters and bright colors and the adults will stay for the complex, emotionally layered narrative that’s both experimental and traditional at the same time. The voice work is spirited, Pete Docter’s direction is amazingly quick and light on its feet without feeling overly frenetic (Wreck-it Ralph this is not), and while it certainly dips into overtly sentimental material more than I might have cared for or expected, there’s no denying the overall impact of the message and digital artistry. But I have to come back to the trippy component to Inside Out – some of the imagery is downright acid-tinged in the wildest of ways (intentional or not), and I’m constantly amazed by the subversive elements that keep getting thrown into the best of the recent Pixar crop. There’s no shortage of imagination with this film, and while Inside Out trades off of some familiar pop-culture imagery (Candy Land, Tomorrowland, and The Lego Movie kept popping up in my head), there’s no denying that this is yet another bold step forward for Pixar, as they continue to lead the way in form pushing animated content with a soul, telling stories that are universally relatable and all the more poignant for being so. Bing Bong POWER.

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