Inside Out
Inside Out
Zeneszerző:
Michael GiacchinoSzereplők:
Diane Lane, Amy Poehler, Mindy Kaling, Bill Hader, Kyle MacLachlan, Phyllis Smith, Lewis Black, Richard Kind, Jess Harnell, Carlos Alazraqui, Frank Oz (több)Tartalmak(1)
A Disney-Pixar legújabb animációs alkotása a Fel! című filmért Oscar-díjjal kitüntetett Pete Docter legújabb műve, amely egészen különleges helyszínen – az emberi agyban játszódik. A tinédzserkor gyakran döcögős és akadályokkal teli. Nincs ez másként a fiatal lány, Riley esetében sem, akinek csendes, kertvárosi élete a feje tetejére áll, amikor édesapja a nyüzsgő San Franciscóban kap munkát. Mint mindannyiunkat, Riley-t is az érzelmei vezérlik – ők Derű, Bánat, Harag, Majré, Undor. Az érzelmek a Riley agyában található Központban laknak, mindennapi munkájuk során pedig azon dolgoznak, hogy a lányt átvezessék a mindennapok kihívásain. Ahogy Riley az érzelmeivel küzdve próbálja megszokni San Franciscót, a Központban kitör a káosz. Bár Derű, Riley elsőszámú és legfontosasbb érzelme megpróbálja a dolgok pozitív oldalát láttatni, összetűzésbe kerül a többi érzelemmel, akik másként vélekednek arról, hogyan kell viselkedni egy új városban, egy új otthonban és egy új iskolában. (Fórum Hungary)
(több)Recenziók (17)
Joy from sorrow. The joy of animation. The joy of discovering a new world. The gradual familiarisation with the rules of Riley’s inner universe (the film is most communicative in this respect even before the opening credits), which is entertaining in its appearance and everything that it references (psychoanalytical metaphors like dream factories, modern art, Disney movies from the 1950s), is gently incorporated into an adventure story about a budding friendship. The amusing falls, thrilling action scenes, jokes with the “maintainers” of the mind and the goofing around with Bing Bong – who is annoying in a Jar Jar Binks kind of way, but the filmmakers know that – all serve a purpose and help us get to know Riley in detail (notice the degree to which her identity is defined by playing very action-packed contact ice hockey, which is definitely not a traditional pastime of girls in American movies). We are thus entertained by the dynamics of the relationships between the characters, what happens and how the whole thing works. What happens “inside” has a direct influence on what happens “outside” and the relationship and plot lines are thus doubled, so there is always something on which to focus our attention and there is no risk that the film will get out of control. There is justification for the fact that neither of the parallel stories offers a traditional villain. The solution to the girl’s inner emotional crisis lies not in overcoming/eliminating obstacles, but in accepting them as part of her own personality (we recently saw an adult version of this in Wild). Few American films, let alone American animated films, have ever dared to cast doubt on the materialistically oriented ideology of individual happiness in this way or to assert that we should also value negative emotions (you never know when anger turned into a blowtorch might save a life). Unlike most feel-good genre films, the feeling of happiness here is not the goal or the solution, but only a means of finding inner peace, which does not derive solely from the individual’s own decisions. As Riley realises through the memory of losing a hockey match, followed by her parents comforting her and the encouragement offered by her friends, joy and sorrow work together best when we have someone to confide in. As we often retrospectively realise in real life, much later than Riley, happiness is other people (and hell is too, but that’s for another film). Thanks to this, the new Pixar movie speaks to all generations without for even a moment being preachy or blatantly lecturing us on the right way to live. Despite that, I can’t estimate how much children will enjoy a film that thematises (and very imaginatively visualises) nostalgia for childhood. For me, Inside Out is one of the most powerful film experiences of the year so far. Yes, I was moved. In this case, however, I don’t see that as having yielded to emotional manipulation, but as proof that the film worked flawlessly on every level and led me to exactly the emotional state that the filmmakers were aiming for. 85%
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Unfortunately, I don’t share the surrounding enthusiasm. You can’t deny Inside Out’s brilliant core premise, which could be the basis of something truly exceptional and ambitious. The playfulness and creativity can’t be denied, either; the film is full of interesting visual ideas, gags, whatever (the switch to other heads). But everything around that, though effective, is just ordinary and predictable.
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One of the few cartoons which make the adult audience wonder what an interesting premise the Pixar created for children, and the children will have fun watching the various characters and probably won’t give a shit about the story.
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A priceless idea that is reprehensibly unimaginative. With a few exceptions that prove the rule (looking into other people's heads, filming dreams), this is a banally straightforward adventure in which Pixar "un-Pixarishly" often stoops to cheap character goofing off.
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A thrilling and nerve-wracking chase driven by a million-dollar idea, which propelled it forward. That alone would have been enough for a dazzling experience, if it weren't for Riley and her emotions taking it even further. The day after seeing it, every last one of us wakes up and ends up wondering who's currently running your head. At that moment, everything falls into place, and the second layer starts to work, where each plot chapter has undeniable significance. In the end, Pixar is reaching for immortality, because there will always be so many vulnerable and hurt teenagers everywhere.
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A divine fairy tale with tons of jokes, built on a great idea and great characters. The entire movie theater was laughing, the children were breathless, here and there a child whispered that he was scared, there was a conspicuous silence during the sad scene with the elephant, and finally everyone was breaking out in laughter again. I even felt as if someone had finally explained my behavior and that of all the people around me, and as I watched, my emotions clearly led to glowing joy. And maybe I was just getting manipulated inside my head, but I think this was one of the best cartoons I've ever seen. So everyone grab the kids and run to the movies to clear your head. And if you don't have kids, borrow some. And if they won't let you have them, go yourself, because this is worth it. 5 stars.
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Pixar is back. An untraditional idea family pack that works like an incredibly emotional (but not in the figurative sense) rollercoaster ride. Pete Docter is in control again, changing everything he touches into gold. A story of Joy and Sadness lost somewhere inside a little girl going through one of the most difficult periods of her life is almost flawless. Parents hold their breath with their kids and they are subjected to Anger, Fear and Disgust. Another movie that says more about us than we realize. Not just entertaining, but educational. Movie of the year, along with Mad Max.
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What can I say about this movie? The colorful visuals are beautiful; the animation is of a high standard, has a fascinating narrative (sometimes almost predictable), and the setting is really nice. The scriptwriting and subject matter really succeeded in portraying the inner world of a young girl, portraying her different emotional states and the human mind, so I appreciate the creators’ imagination in coming up with something so good. Among the other positive things about this movie is its sense of humor. However, some jokes, like the memory of an advertising jingle that kept popping up unexpectedly, were not that amusing. Otherwise, what would a movie about emotions be without emotions? I have to say that with this movie, the screenwriters made it both charming and melancholic. They managed to make it powerfully moving, and I almost shed a tear during the scene with the pink elephant/cat/(dolphin) at the bottom of the abyss. I have to say that I did not simply get through the movie; I had a great time watching it. When I compare it to other animated movies I have seen this year, after the unreal Song of the Sea, this was probably the most fun I have had so far, so I am going to award it 8.5/10.
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An extremely imaginative treat for the soul from Pixar. Playful, funny, moving, for young and old alike, in short, an ideal combination of everything, supported by Giacchino's beautiful music and spiced up with unreal jokes like domestic arguments at dinner. A beauty. I'm still soft from all this. But pleasantly soft.
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Inside Out is clear proof that the people at Pixar still have their heads in their place. The level of humour may not be what we are used to in some of their best films, but the sophistication and visual imaginativeness of the world inside our heads easily triumphs, creating an original animated experience where the joy and sadness of the gradual discovery of a unique world basically carry everything on their shoulders. Plus some really great jokes (the jingle from the commercial, the end credits...), which in turn bring back clear memories of Pixar's peak :) The best characters for me are the "sidekicks" Rage and Fear :)) 85%
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Inside Out is definitely one of the most original animated films of recent times - there are very few films with such an idea and execution. I liked the portrayal and behaviour of the individual emotions, each of which had something to it. In fact, the entire content of (not only) Riley's head was thought out with the greatest amount of imagination, from long-term memory, to imagery, to forgetting. The film managed to evoke both "joy" and "sadness" in me during those ninety minutes, which just goes to show that there is no sadness in life without joy, and vice versa. After all, the remaining emotions (Fear, Anger and Disgust) are part and parcel of each of us and it is important to keep them in balance. The funniest scenes were the dream factory, the insight into other people's heads, and the recurring Triple Dent commercial, while the line with Bing Bong managed to really move and rode a rather sadder wave. All in all, this is a very well done piece of animation and storytelling that rightfully deserves both thumbs up, while managing to appeal to audiences of all ages.
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Pixar is doing what it does best again, which is messing up kids' carefree youth, but this time I really wonder what the tots will take away from it. For aside from the insufferable hyperactive Joy, they don't have many clues here, and instead are forced to process complicated rushes of emotion (a touching crying scene is destroyed by the character crying candy instead of tears) and life truths ("Yes, Reilly, the things you like to remember now will make you instantly sad one day because they'll never come back"). This is perfectly crowned by the Czech translation (Sadness translated as Depression), which turns the film's point into a lesson that to be happy you need to get some healthy depression now and then. Recommended by ten out of ten rope manufacturers. Yes, I find it appealing in its subversiveness; however, it seems to me that this was perhaps not entirely the intention. It's depressing and creepy all the way around the corner, but the realistic look at the inside of your head during an interaction with the opposite sex somehow puts faith in the fact that Pixar simply gets us.
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A great animated film that I really enjoyed. On the other hand, I was terrified to find out what really goes on in my head. Judging by the visuals, I'd say the creators were aiming for a child audience, but I was happy to join in anyway and wasn't bored for a second. The control centers in the female and male brain were perfect, but I was completely blown away by the closing credits scenes, which made me give it a fifth star.
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Definitely one of the most original and interesting animated films of the year, and maybe even of the entire history of world cinema. Maybe I was a little bothered that the story was somewhat predictable and didn't offer that much, but that didn't matter at all because there is an incredible amount of ideas here, it is beautifully thought out and conceived, and in the end, it is so emotional that it almost knocked me down. The scene with Bing Bong was simply wonderful. Definitely the best animated film of the year, and I didn't even think that Pixar would excel so much with something. But they are simply unique.
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One of the best cartoons I've seen. A brilliant story executed in the best possible way. Despite some really funny moments (maintenance and "vacuuming" memories) the whole story is as consistent and serious as possible, resulting in an intense emotional experience from start to finish. I must also not forget that the filmmakers really made the most of the possibilities of their chosen subject and I can't imagine how it could have been conceived and filmed better. One of those films where I say to myself, "this has completely exhausted all the potential and is the top of its genre".
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Yes, I enjoyed it. Yes, the idea was brilliant. Yes, it's a safe bet, so this year's Oscars have never been more obvious. Yes, Pixar is back. But NO, the story itself is not great. It is absolutely run-of-the-mill, wasting the potential of the whole movie.
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I would really like to know how somebody was capable of thinking up a brain that works so flawlessly. I was over the moon about this movie and it left me with a blissful feeling. Really great treatment of the topic, and funny scenes too to counterbalance some of the more moving ones. And I would welcome an adolescent sequel. There’s nothing complicated about the plot, but it sails along nicely and I had fun watching it.
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