A pleasant return to form for Disney-Pixar, Inside Out 2 may understandably not feel as fresh or vibrant as its predecessor but still serves as a strong and enjoyable continuation of Riley’s emotional journey.
Kelsey Mann makes her feature-length directorial debut, bringing to life a screenplay by Dave Holstein and returning writer Meg LeFauve. The movie centers on the emergence of new emotions–including Anxiety and Embarrassment–and their implications for both the now-thirteen-year-old Riley and the original cast of emotions, led by Joy (Amy Poehler).
Well-written, clever and semi-funny, Inside Out 2 does a great job of exemplifying the battle of emotions, especially once the dreaded Puberty strikes. As things escalate and poo hits the fan, the story weaves a complex web of–well–emotions to deliver a satisfying dose of teenage angst mixed with metaphorical adventure.
While I haven’t suffered a lot of anxiety in my life, thank the Lord Jesus (or really just damn good genetics), I’ve been surrounded by plenty of people who do have to deal with it on a daily basis. While of course the character of Anxiety is a simplification of reality, I found the portrayal of this nervous, over-thinking, and on-the-edge emotion to be pretty damn funny and accurate, and I imagine those with anxiety will also nod their heads with a “yep.”
Sure, Inside Out 2 lacks the poignancy of the original (poor Bing Bong!), the “wow” factor isn’t quite there, and some could say it’s a bit of a retread, but its fast pace, entertaining set pieces, and amusing characters make for a charming sequel.
I attended the movie with two five-year-olds (mine and a friend) and both seemed enraptured at times, entertained at others. There are elements of the film that understandably went over their heads and overall it’s perhaps not the perfect Pixar film for them, but it was a night and day difference watching this one with her compared to, say, the dreadfully dull Elemental.
Inside Out 2 is a worthy Pixar sequel and an easy-to-like piece of entertainment. It may not reach the emotional highs of its predecessors, but that’s more than OK.
Review by Erik Samdahl unless otherwise indicated.
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