Disney Pixar’s latest is unsurprisingly ambitious and technically accomplished, but on this occasion they’ve overshot their own creative mark and landed a little too close to the dead zone of thematic ambiguity for comfort. The plot is theoretically about one family: father (Kyle MacLachlan), mother (Diane Lane) and young eleven-year-old girl Riley (Kaitlyn Dias) who relocate from Minnesota to San Francisco, causing Riley to suffer numerous quite natural insecurities and regrets as she waves goodbye to several friendships and a hallowed place on her ice hockey team.
In reality, the movie is focused on what’s going on inside Riley’s brain as we see Joy (Amy Poehler), Sadness (Phyllis Smith), Anger (Lewis Black), Disgust (Mindy Kaling) and Fear (Bill Hader) brought to life as individual entities at the helm, ‘Headquarters’, of Riley’s entire personality and normal function. Herein lies problem number one – an attempt to personify characters as representative of one distinct and solitary emotion but also as characters in their own right who must necessarily exhibit more of a range.
The whole motif behind the movie is that it’s OK to feel sad sometimes, as this can be a visual signal to others that we are in need of help. Sadness initially messes everything up before her place in the grand scheme of things becomes apparent, and as her chaotic influence sweeps throughout the labyrinthine corridors of Riley’s grey matter we watch as entire elements of the host’s personality are completely and irrevocably annihilated by mistake, whilst in the real world her life is equally devastated as a result. All of which has the effect of largely distancing Riley from being in any way in control of herself and her own state of being, which in turn is conceptually very alienating for an audience.
Similarly, there are a lot of very eerie goings-on; we see a large creepy clown lurking around in locked away memories, entire characters begin to fade into nothingness as Riley starts to forget them. Notwithstanding this, there are funny moments and the artwork involved is top-notch, as we’ve come to expect, just as the adventure the central personality profiles go in does more or less hold interest until the end. Still, the film’s premise hasn’t been satisfactorily fulfilled and The Red Dragon is by no means convinced this is a good film to be taking youngsters to go and see.