Pixar has long reigned as the champion of both intelligent, creative storytelling and emotionally potent filmmaking. Something about their computer-rendered world always seems to strike a chord with the one we have experienced, mostly because the purest of hearts beat within the lines of their ingeniously designed characters.
“Inside Out” may well be the most vivid realization of the animation powerhouse’s strengths. Writer/director Pete Docter’s film marks their most innovative vision since 2001’s “Monsters, Inc.” and their most heartstring tugging piece since 2009’s “Up.” Every second of the film captures the complexity of the human experience, inspiring laughter, smiles, and tears. Often times, I responded with all three reactions simultaneously.
In what may inspire the next generation of psychologists, Docter (along with fellow Pixar brain trust members Ronaldo Del Carmen and Josh Cooley – as well as Meg LaFauve) takes on the ambitious task of visualizing the mind. And not like the opening credit sequence to “Fight Club” or anything, either. They map out the logic, rationale, and functionality of just about every cognitive process in the brain, both conscious and subconscious.
Remarkably, the thought of “Inside Out” as some kind of cinematic adaptation of a neuroscience textbook never occurs for a second. As it enlightens us, the film also entertains. The premise starts off extremely straightforward: five personified emotions vie for control in the mind of a young girl, 11-year-old Riley. These distinct characters take on additional vitality and vibrance through expert voice casting that draws on the established strengths of the performers.
Amy Poehler channels Leslie Knope into Joy. Lewis Black brings his trademark tirades (minus the profanity) to Anger. Bill Hader lends his motormouth to the ever-adapting whims of Fear. Mindy Kaling adapts her defensive, often put out television alter ego into Disgust. And Phyllis Smith selects the sad sack elements from her good-natured but sometimes mopey Phyllis from “The Office” and transfers them into Sadness.
Marshall and the Movies 
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