Her dad gets a job at a tech startup and he moves the family out to that bleak nowheresville known as the Bay Area. But calamity strikes, as it so often does, in the humblest of ways. She has two loving parents (Diane Lane, Kyle MacLachlan) and a perfect Minnesota childhood made up of equal parts friendship and ice hockey. When the story begins, Riley is an 11-year-old coasting through life with Joy firmly at the steering wheel. As its title suggests, the true drama (and comedy) of the film takes place inside Riley’s head. Squat, blocky Anger is-as if you hadn’t already guessed-fire-engine red and voiced by Lewis Black. Fear (Bill Hader) is a purply, perpetually jangled nerve-ending, and Disgust (Mindy Kaling) is a sickly green guru of sarcastic judgmentalism. Sadness (Phyllis Smith, who played Phyllis on The Office) is blue and blobby, unsure of her role and seemingly destined to ruin everything she touches. Joy (Amy Poehler) is a sunshine-yellow pixie of enthusiasm who presides over the “control room” of Riley’s mind as a benevolent dictator, trying to keep the less-upbeat of her colleagues off the controls. Let’s begin with the glorious anthropomorphizing of said emotions. At once achingly heartfelt and magnificently high-concept, the film tells the story of a girl named Riley (Kaitlyn Dias) and the five emotions that together make up her psyche: Joy, Sadness, Fear, Disgust, and Anger. Because writer-director Pete Docter-the man responsible for Monsters Inc., arguably Pixar’s most underrated picture, as well as Up, its best overall-has now given us Inside Out.

The subsequent year, 2014, was the first in a decade in which Pixar didn’t release any feature at all.īut right now, none of that matters.

Brave (2012) was a solid addition to the canon, but it was sandwiched between Cars 2 and Monsters University-almost certainly the two worst movies the studio has produced. A few members of the studio’s central brain trust branched out into live-action (Andrew Stanton with John Carter, Brad Bird with Mission: Impossible – Ghost Protocol and Tomorrowland), head honcho John Lasseter added Walt Disney Animation Studios to his list of responsibilities, and Pixar came down with an acute case of sequelitis.

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