Inside Out ★★★★

    Disney's Pixar bears quite a responsibility when it comes to the production of their timeless computer-generated films—in part because they are solely responsible for the drastic re-visioning of the art of animation. (Hand-drawn animated pictures not only suffered greatly once this new and refreshing technology came into existence, but they were pretty much forced into becoming obsolete.)

    Yet, this somewhat overbearing sense of accountability can also be attributed to the quality of the films themselves, as Pixar has been known to generate some of the most charming and memorable stories to date. (We constantly find ourselves pining for more of the same, and this is exactly where our aforementioned responsibility rears its demanding head.) The screenwriters must produce a story as entertaining as the last, as well as more heartwarming, which, I'm sure, becomes burdensome at the very least.

    Take "Inside Out" for example, Pixar's newest indulgence and a film that is undoubtedly steeped in human emotion. It simply revolves around the life of a young girl, Riley, and her journey through several universal adolescent experiences, including well-known pre-teen behavior and being the "new kid" in an unfamiliar environment. However, it is what's beneath this rather straightforward exterior that warms the soul and continues to delight from days on in. With a lovable cast of characters and a delicate score (composed by Michael Giacchino) that is as emotive as the subject matter of the picture itself, "Inside Out" effortlessly becomes the best-animated picture of the year.

    The plot: Riley, an 11-year-old girl who was born and raised in Minnesota, is on the verge of an emotional breakdown; for, her father has obtained a new job in San Francisco, California, and this can only spell disaster for a child that is overly attached to their previous friends and surroundings. This triggers a monumental string of events as Riley's conscious (controlled by five distinct manifestations of emotion—including Joy, Sadness, Fear, Disgust, and Anger) struggles to accept the inevitability of such dealings. (That being, loneliness, dejection, et cetera.)

    This is surely not to mention several conflicts that arise from sadness' spirit of inquiry, which ultimately results in the destruction of Riley's "Islands of Personality," along with Joy and Sadness becoming lost in the labyrinth that is long-term memory. From here, the film places much reliance on situational irony (every decision our characters make regrettably takes them further away from their goals), as the two seemingly polar opposite emotions try to find their way back to Riley headquarters. This perilous journey will see our protagonists through a handful of settings brimming with visual impact (there is Imagination Land, Dream Productions, and the ever bizarre Abstract Land) as they strive to bring our central character back to a state of contentment.

    What "Inside Out" does exceptionally well—beyond the wonderful characterizations of the emotions (which ironically have a simple execution of character: dialogue and action) and the befitting decision to minimize physical humor, which is an obnoxious product of most children's animated pictures—is amalgamate the two enriching storylines into one awe-inspiring adventure. It is important to note, of course, that the story of the emotions would have succeeded no matter what, as their motivations (to keep our adolescent female in a realm of happiness) and complications (anything that obstructs the accomplishment of the former) would have stayed relatively the same with regard to the external plot.

    Clearly, it is the surface story of Riley that makes this picture work; it is also the emphasis on a narrative that is true to life that brings this tale into coherence and provides a number of touching moments infused with sentimentality. It is quite relatable to any teenager undergoing this same sort of adaptation—as well as a reminder of how adult decisions may affect our offspring. (Unfortunately, I am afraid that younger children may not grasp the strong points given here.)

    "Inside Out" is an outstanding example of human nature, which just so happens to be the theme of the CGI crafted tour de force. (Along with the notion that all feelings come with equal importance, and, to put it plainly, that it is OK to be sad and to warrant help from others.) Any film with a subject as genuine as this will most likely flourish, and Pixar has without a doubt created yet another bar-setting masterpiece.