Inside Out (2015)

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Pixar’s films were always deeply psychological. Toy Story wasn’t just a film about funny toys coming to life. It featured a mental breakdown. The main message behind it was that we can’t be anything. We have to understand our limitations and make the best of them.

Inside Out is the most overt psychological film yet. The main setting is, after all, the inside of a girl’s head. It’s also their most metaphorical film to date. Nothing about the film is meant to be taken literally, not even the life of Riley. There is clear meaning behind everything happening outside her head. It’s that meaning that makes this film a success.

I can’t imagine anyone enjoying this film unless they’re past high school age. The fact that Riley is frustrated with the moving isn’t the point. The meaning of moving to a new environment is an extension of the new environments we encounter when we grow up.

Growing up is receiving blows to our core worldview. High school, a new job or a new town makes us question who we are. We’re forced into a new environment and have to make sense of ourselves over again. Riley moving away is paralell to any other radical change in your life.

The same goes for her running away. She’s not running away but she’s running back. She’s trapped in nostalgia. It’s reminiscing over old memories taken to the extreme. Since so far she only knew how to be happy, she thinks that simply going back to the old place means going back to happiness.

Happiness isn’t enough for deep thought, however. It’s often when we’re depressed that we ask questions. It’s when we’re depressed, seeing problems that we actually search for solutions. Sadness also makes us see reality for what it is. When Sadness (the character) colors the core memories with that emotion, it’s the realization that it’s over. You can’t go back.

The original meaning of ‘nostalgia’ is a form of homesickness. The term was coined to describe how Swiss soldiers felt, missing their land. I first felt this fully in the military when I was away from home. Looking back, I noticed how nothing will be the same. I was still with the same people, but how we are now is vastly different from the past. Growing up is having a whole chunk of past to look behind to and feeling sadness over the fact these happy moments ended. That’s why Sadness colors these memories.

Growing up also means seeing the various colors of life. In truth, no moment of our life has a single emotion. Entering a romantic relationship, you’re happy that she said yes and fearful she’ll break it tomorrow. Some people said of their loved ones’ suicide that they’re at least happy their pain has ended.

Inside Out doesn’t recall Toy Story just because of the artificial details (both films feature two characters who are opposites, on a journey of return). The main message behind it is that we should embrace our emotional comlexity. It’s anti-‘Be positive’. It’s amazing how a film with bright colors and cute characters can have such sentiments. It goes to show you that no matter how many gangsters, witty lines and suits you have in your film it doesn’t equal depth.

At this point, talking about the technical details of Pixar’s films is boring. They know their formula. The good old journey of return is back. Since it works, since they have enough visual ideas and depth to make it feel new again it doesn’t matter. After all, it’s the content, rather than the form that’s harder to get right. So if following this pattern means Pixar can focus on the themes and ideas I don’t mind.

There is a small alteration to the formula. Pixar tends to push their journies to the extreme. It’s amazing how always, no matter how hard they push the characters the solutions make sense. This time they’re more restrained. Althugh they had an oppurtunity to roll the snowball more and make it bigger, they didn’t. They stopped it just in time. The grand moment of realization is also more subdued this time. That’s a good thing. Pixar are always one step away from becoming manipulative and after the brilliant behemoth that is Toy Story 3, it’s good to see them more restrained. Success can get you drunk.

Inside Out is as brilliant as people say it is. Of course it’s beautifully animated and cleverly written. What makes it unique and what makes it another classic by Pixar is the deep psychology, the complex emotions and how maturely they treat their material. At this point, it’s ridiculous to call these films for children. Sure, Pixar never has any violent or sexual content but they can say so much without it. They make it seem so simple.

4.5 voices in your head out of 5

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Mad Max: Fury Road

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So, Anita Sarkeesian managed to piss a lot of people off (again). That’s not surprising. There’s that famous quote about how people love you for making them feel like they’re thinking, and hate you for actually make them think. Anita is an expert in fiction analysis, which is why no one managed to defeat the behemoth of her video game series. Just like she did to video games, she saw through Fury Road‘s pathetic catering to feminism.

If you hear anyone praising the film for ‘strong female characters’ and subverting the norm with the old women, you can be sure the person has little understanding of fiction. Feminism means promotion of women’s rights with hopes they’ll be equal to men. It seeks not to fuel the dichotomy of the patriarchy but to end it. It seeks to erase differences and question norms. Fury Road doesn’t question any norms but fuels existing ones that are more politically correct.

A world that challenges gender roles will challenge the concept of gender roles. It’ll put men and women in the same position, and ask us whether it’s possible or not for gender to mean nothing. In Fury Road, gender tells you who’s evil and who’s not. All of the guys are bad. There is not a single bad female. There are only two male characters who aren’t villains, and a character expresses mistrust towards them because of their sex. This is more than enough to tell us that males are pretty awful, but women are good-natured and also badasses.

You even get an action heroine, who’s defining feature is that she looks like the singer from Skunk Anansie. This is also the most interesting thing about her. She has no personality beyond doing what’s right because she’s a protagonist. That’s fine. That’s how action heroes work. Luckily she has enough charisma and a gritty look that emphasizes badassery instead of sexiness. She’s a great action heroine that ticks all the right boxes, but her character is as shallow as a damsel in distress.

It gets worse in the climax, where a bunch of old women push into the final scene despite the film not wanting them there. There’s no reason to focus on them so much. They’re a plot device that tells the characters to go back and instigate the final chase. They contribute nothing to the scene. They have no personality and no charisma. We have no reason to cheer for them other than that they’re good, and they’re only good because they’re women. They just take up precious time that could be better spent on Max and Furiosa.

Amidst all this, the only character with a personality is Max himself. Tom Hardy destroys Mel Gibson with his performance. Gibson made Max a charismatic but shallow action hero. Hardy and the script turn the ‘mad’ into ‘mentally ill’. The looks on his face, his jerky behavior – all points to a broken, damaged man. We also get some ‘visions’ to let us know Max has a troubled past, but they must’ve written that before they knew how brilliant Hardy is.

So, Fury Road has one of the most sexist worlds ever. It’s a world where all males are bad and disposable. Females are either angels or badasses. Thankfully, feminists couldn’t ruin George Miller’s vision. There’s a brilliant moment of symbolism in the final scene where some of the old women die a beautiful death, which is a metaphore for how the film doesn’t let social justice stops its brilliance.

At its best, Fury Road betters the ideas in the previous films. The world is weird, mentally ill and unstable. There are plenty of odd design choices to emphasize this, but the the car with the guitarist is the most telling one. It may seem impractical to have a guitarist in the middle of a car chase, but this is how this world works.

Humanity couldn’t stay the same after an apocalypse. There’s no reason that the cultures that will rise up will be like ours. Memories of the old world should be erased. New symbols take their place. In this world it’s cars and weapons. It’s a culture that worships cars. That’s why they run with their designs, and you get a sports car with wheels of a tank and the guitarist. This is what makes the world seem so real and alive. If only George Martin could think of such odd details.

It’s less weird than before. In the previous films, the world was desexualized and truly insane. George Miller took a few cues from Martin and added some very out-of-place grimdarkness. In the previous films, the villains were cruel but also weird. It was a unique way to give them humanity. There’s no antagonist as charming as Master Blaster. They dress weird, but their behavior isn’t very different than whatever Marvel is churning. Fury Road should have looked to its followers – Fallout and Borderlands, who borrowed this weirdness and created their own spin of a mentally ill world.

At least they kept the aestheticization of violence, which is the heart and soul of the series. It still feels like a respond to John Woo. If Woo is the master of gunfights, then Miller will be the master of car chases.

Action scenes aren’t measured by how well the effects are. Good action scenes are like a dance. The movements need to connect. There needs to be good pacing, tension and release, make it visually appealing and let it flow. Good action is not realistic. It is indulgence in visual fantasies.

Fury Road is full of this. Each car has an eye-popping design. Even cars whose drivers aren’t seen have a unique design. It’s still filmed to let you feel the speed. The blurry roads remain the defining feature. There’s also variety. Spiky cars, people hanging on poles, a guy with a chainsaw – the action relies more on memorable set pieces than effects.

It’s also completely heartless, but it’s part of its beauty. The film asks you to cheer for every death, every explosion and every wound. Even when the good guys are wounded it’s shot as if it’s another cool addition to the scene. It may seem too much for some people, but violence can’t be aestheticized properly if it’s censored. It’s not that Fury Road uses extreme violence to cover up creativity. It just knows you can’t be too creative with the PG-13 rating.

Whether it’s better than Road Warrior, time will tell. Miller compromises his vision a bit for silly grimdarkness and feminists, but in the end he runs over them. They put enough holes in his wheels, which means Fallout and Borderlands are ahead. There’s plenty of fuel left in this franchise though. If they keep Hardy and ignore the social justice warriors, then the action genre will come back to life. If not, then maybe this will motivate someone to make a Borderlands or Fallout film.

By the way, Gizmo from Fallout 1 appears in a pretty cool car. Apperantly, fat guys are okay to kill. So much for social justice.

3.5 cars out of 5