By Matthew Moorcroft

Highest Recommendation

• Directed by Kelsey Mann
• Starring Amy Poehler, Maya Hawke, Phyllis Smith, Lewis Black
• PG

The Inside Out films are kind of a weird anomaly within western animation. Even for Pixar, the films which focus on the personifications of emotions within the mind of a young girl, are more sophisticated and nuanced then some adult films releasing nowadays; the closest things to animated character studies that exist, easy enough to follow for kids while never dumbing down the material to the point where adults roll their eyes in dismissal. The original film was something of a miracle in itself, releasing at a time of uncertainty for Pixar and became one of their biggest successes ever.

One could immediately assumed that it’s long awaited sequel is nothing more then a well deserved victory lap, celebrating a film that has since been regarded as one of the company’s finest and most impactful. It also comes at a crossroads for Pixar, one plagued by Disney mandates in the wake of a bad year for their parent group and their own woes regarding the mismanagement of Disney+. As such, it can also be easy to see Inside Out 2 as nothing more then a last ditch effort to make some extra cash and save their own skin.

Thankfully, Inside Out 2 is much, much better then that. In fact, it’s by far and away the best non-Toy Story sequel the company has made, and that’s including the excellent Incredibles 2 and Finding Dory which managed to make great belated sequels to classics. But while those films, admittedly, were content with replaying the hits at points (to great effect), Inside Out 2 builds on the first in unique, extravagant ways that uplift both films above and beyond.

Following similar thematic territory as Pixar’s amazing Turning Red, puberty is our subject this time around. But while Turning Red was focused with the physical changes and the general social aspect, Inside Out 2 is far more internal, opting for a look at how we psychologically process going through a time where everything seems completely out of wack and uncertain. High school is coming, friends may be moving away, and we have to fit in with the new crowd. The cool crowd. And everything seems much more on the line – while nowadays it can seem quiant, one little mistake back then can mean a complete and utter emotional breakdown.

That’s almost basically what happens here, as Joy and the rest of the emotions find themselves bottled up and taken over by new, more complex emotions that are difficult to parse out. Anxiety is the new leader here, who is magnificently played by Maya Hawke, and she obviously only wants what is best for Riley – even if it means overthinking every single little thing to death. Making up scenarios for her to languish over in bed. Panicking the slightest possibility of failure.

As somebody with anxiety like this, Inside Out 2 almost feels like a revelation in that way like the first film’s focus on the upsides of sadness. Anxiety is never demonized or seen as a villain; while it’s definitely an antagonist, Anxiety is there to worry FOR Riley – but that’s all it knows. At a certain point, it becomes uncontrollable, impossible to stop. Like all emotions, too much of one of them is a bad thing, and leads to issues regulating one’s own internal “sense of self”.

It helps that it’s equally as well constructed as the first film is in it’s mechanics. The madcap, frantic humor of the original is doubled down on and is consistently hilarious, and the gorgeous, eye-popping animation is some of Pixar’s most visually stunning work yet (with particular notice going towards the color design). While the first film’s buddy conceit worked in it’s favour there, this one opts for an ensemble piece which gives the other emotions more to do – for fans of the underused trio from the first film, you will not be disappointed here.

But the real trick of the film is how deeply it actually cuts. Beyond the clever humor, stellar visuals, and emotional core, Inside Out 2 is on the same wave length as the first in terms of letting it’s decisions stick. Things aren’t perfect, some things are left unresolved, but that’s life. That’s ok. Riley is still Riley, and her emotions are growing more and more mature by the day even if they don’t entirely define her now. The beautiful final 10 minutes are some of Pixar’s most cripplingly affecting moments, turning the hardest of souls into mush as you find yourself brought back to any moment you as well were in a moment of vulnerability.

And from it’s final frame, Inside Out 2‘s lasting power is beyond that of the final already fantastic film. It’s everything that an animated film like this strives to be and more, and it’s frankly insane that a western studio like this is even able to make these. Basically, unsurprisingly, a must see, and one of the year’s best so far.