by Josh Sewell
Inside Out 2
(Rated PG for some thematic elements. Opens in theaters June 14.)
The long-awaited sequel to Pixar’s 2015 masterpiece Inside Out (one of the only films I’ve ever given an A+) hits theaters this weekend and is poised to pull the studio out of the box office slump it’s been in over the last few years. While films like Soul, Luca, Turning Red and Elemental maintained the studio’s history when it comes to quality, the 2020 pandemic and viewers’ reliance on streaming services like Disney+ means they didn’t sell a lot of tickets.
I get why Pixar would want to return to a beloved property after that disappointing run, but it’s a massive risk. For every Toy Story 2, there’s a Cars 2. Fortunately, Inside Out 2 is much closer to the former.
The film reacquaints viewers with Riley (Kensington Tallman), now 13, and the emotions that live in her head. Despite their rocky relationship in the previous film, Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale) and Disgust (Liza Lapira) are getting along just fine.
Of course, that doesn’t lead to much conflict. That’s why screenwriters Dave Holstein and Meg LeFauve upend the group’s drama-free routine by having Riley hit puberty, heralding the arrival of new, more complex emotions like Anxiety (Maya Hawke), Embarrassment (Paul Walter Hauser), Envy (Ayo Edebiri) and Ennui (Adèle Exarchopoulos).
Inside Out 2 is a worthy continuation of Riley’s story. Although it doesn’t reach the pinnacle of the original, that’s basically an impossible task. However, despite its cartoonish nature, the film realistically tackles how the early teen years introduce kids to a wider range of feelings they’re not quite ready to process yet.
That’s why the addition of Anxiety and her well-meaning but destructive traits hit really close to home for me. Younger viewers might not get the jokes and conflicts tied to her, but teenagers and their parents will probably find themselves laughing, nodding along and wiping away occasional tears. (Although it made me wonder: if there’s a third movie, will Prozac be a new character?)
Holstein and LeFauve, along with director Kelsey Mann, really nailed it – as did Hawke with her fantastic vocal performance. Inside Out 2 might not be a home run, but considering Pixar’s recent box office woes, I’m sure the studio will be happy with a triple.
Grade: B+
Tuesday
(Rated R for language. Opens in select theaters June 14.)
Julia Louis-Dreyfus is known for her comedic brilliance in iconic shows like Seinfeld and Veep. However, those who’ve seen her work in dramedies like Enough Said and You Hurt My Feelings realize that talent for crafting fully realized characters also lends itself to more serious performances. Never has that been more on display than in her new indie, Tuesday.
This dark fairy tale – steeped in magical realism – contains one of the best performances of her career, as she and her equally incredible co-star Lola Petticrew tackle a somber topic with heart and tenderness. Croatian filmmaker Daina O. Pusić, making her feature debut, presents their characters’ story in a way that should help most viewers gain a new perspective on life while they wipe away copious amounts of tears.
Louis-Dreyfus plays Zora, a mother who is doing her best to ignore the reality that her cancer-ravaged teenage daughter (Petticrew), the titular Tuesday, is fading fast. When Death arrives, taking the form of a CGI macaw (voiced by Arinzé Kene), the duo is forced to move through the stages of grief to accept both his presence and the reason for his visit.
At its core, Tuesday is a heartbreaking story of inevitability, loss and finding resilience in unexpected ways. In that respect, I have to be honest: if I knew what I was getting into before watching, I probably would’ve skipped it. I’ve got two daughters, so the plot hit extremely close to home.
In hindsight, however, I’m glad I went into the film blind. Although it’s a painful watch, it’s also beautiful and profoundly moving thanks to Pusić’s thoughts about death, acceptance and the people we leave behind when we go. Louis-Dreyfus and Petticrew, as well as Leah Harvey (who plays Tuesday’s at-home nurse), take a premise that could’ve been silly or offensive in the wrong hands and turn it into something poignant and life-affirming.
Granted, the visual effects are a little cartoonish at times, but that’s to be expected considering the film’s tiny budget. Plus, the look helps sell the magical realism at the narrative’s core. I’m not sure if Tuesday will find life outside of arthouse distributor A24’s usual indie fanbase, but it’s certainly one of the most powerful viewing experiences I’ve had this year.
Grade: B+
(Rated PG for some thematic elements. Opens in theaters June 14.)
The long-awaited sequel to Pixar’s 2015 masterpiece Inside Out (one of the only films I’ve ever given an A+) hits theaters this weekend and is poised to pull the studio out of the box office slump it’s been in over the last few years. While films like Soul, Luca, Turning Red and Elemental maintained the studio’s history when it comes to quality, the 2020 pandemic and viewers’ reliance on streaming services like Disney+ means they didn’t sell a lot of tickets.
I get why Pixar would want to return to a beloved property after that disappointing run, but it’s a massive risk. For every Toy Story 2, there’s a Cars 2. Fortunately, Inside Out 2 is much closer to the former.
The film reacquaints viewers with Riley (Kensington Tallman), now 13, and the emotions that live in her head. Despite their rocky relationship in the previous film, Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Fear (Tony Hale) and Disgust (Liza Lapira) are getting along just fine.
Of course, that doesn’t lead to much conflict. That’s why screenwriters Dave Holstein and Meg LeFauve upend the group’s drama-free routine by having Riley hit puberty, heralding the arrival of new, more complex emotions like Anxiety (Maya Hawke), Embarrassment (Paul Walter Hauser), Envy (Ayo Edebiri) and Ennui (Adèle Exarchopoulos).
Inside Out 2 is a worthy continuation of Riley’s story. Although it doesn’t reach the pinnacle of the original, that’s basically an impossible task. However, despite its cartoonish nature, the film realistically tackles how the early teen years introduce kids to a wider range of feelings they’re not quite ready to process yet.
That’s why the addition of Anxiety and her well-meaning but destructive traits hit really close to home for me. Younger viewers might not get the jokes and conflicts tied to her, but teenagers and their parents will probably find themselves laughing, nodding along and wiping away occasional tears. (Although it made me wonder: if there’s a third movie, will Prozac be a new character?)
Holstein and LeFauve, along with director Kelsey Mann, really nailed it – as did Hawke with her fantastic vocal performance. Inside Out 2 might not be a home run, but considering Pixar’s recent box office woes, I’m sure the studio will be happy with a triple.
Grade: B+
(Rated R for language. Opens in select theaters June 14.)
Julia Louis-Dreyfus is known for her comedic brilliance in iconic shows like Seinfeld and Veep. However, those who’ve seen her work in dramedies like Enough Said and You Hurt My Feelings realize that talent for crafting fully realized characters also lends itself to more serious performances. Never has that been more on display than in her new indie, Tuesday.
This dark fairy tale – steeped in magical realism – contains one of the best performances of her career, as she and her equally incredible co-star Lola Petticrew tackle a somber topic with heart and tenderness. Croatian filmmaker Daina O. Pusić, making her feature debut, presents their characters’ story in a way that should help most viewers gain a new perspective on life while they wipe away copious amounts of tears.
Louis-Dreyfus plays Zora, a mother who is doing her best to ignore the reality that her cancer-ravaged teenage daughter (Petticrew), the titular Tuesday, is fading fast. When Death arrives, taking the form of a CGI macaw (voiced by Arinzé Kene), the duo is forced to move through the stages of grief to accept both his presence and the reason for his visit.
At its core, Tuesday is a heartbreaking story of inevitability, loss and finding resilience in unexpected ways. In that respect, I have to be honest: if I knew what I was getting into before watching, I probably would’ve skipped it. I’ve got two daughters, so the plot hit extremely close to home.
In hindsight, however, I’m glad I went into the film blind. Although it’s a painful watch, it’s also beautiful and profoundly moving thanks to Pusić’s thoughts about death, acceptance and the people we leave behind when we go. Louis-Dreyfus and Petticrew, as well as Leah Harvey (who plays Tuesday’s at-home nurse), take a premise that could’ve been silly or offensive in the wrong hands and turn it into something poignant and life-affirming.
Granted, the visual effects are a little cartoonish at times, but that’s to be expected considering the film’s tiny budget. Plus, the look helps sell the magical realism at the narrative’s core. I’m not sure if Tuesday will find life outside of arthouse distributor A24’s usual indie fanbase, but it’s certainly one of the most powerful viewing experiences I’ve had this year.
Grade: B+
Reach out to Josh Sewell at joshsewell81@gmail.com
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