Meewella | Critic

According to P

Tag: Amy Poehler

QuickView: Inside Out 2 (2024)

“Riley’s life is more complex now. She needs more sophisticated emotions than all of you. You’re just not what she needs anymore.

Anxiety

In 2015, Inside Out’s anthropomorphised emotions were a rare beacon of creativity in the midst of a Pixar slate populated by sequels. Now itself a sequel, Inside Out 2 loses some of that freshness — as well as director Pete Doctor, who went on to helm Soul — but it builds effectively on the original’s premise with a meaningful story to tell. With Riley now 13, puberty brings a flood of new teenage emotions — Anxiety, Envy, Embarassment, and Ennui — coinciding with a trip to ice hockey camp. The external coming of age story is familiar and rote; inside, Anxiety and Joy vie for control, with competing ideas about the person Riley should be. Despite a handful of cast changes, the voice acting is wonderfully engaging throughout. Visually, Inside Out 2 replicates the inner world of its predecessor without showing much new. The notable exceptions are two characters in Riley’s memory depicted in different art styles — a 2D children’s cartoon parody and a moody videogame protagonist. Their brief inclusion, whilst humourous, seems almost perfunctory and it stands in contrast to the cleverly blended animation styles found in titles like Across the Spider-verse or The Mitchells vs the Machines. This is an enjoyable but lesser sequel, then, but it contains a worthwhile message for adolescents that personality is multifaceted, a holistic reflection of our experiences and emotions.

7/10

QuickView: Mean Girls (2004)

“Get in loser, we’re going shopping.”

Regina George

Although this is ostensibly the first time I have watched Mean Girls, as a child of the Internet I have been exposed essentially to the entire movie in memefied form. Rooted firmly in the early 2000s, with a high school experience likely unreconisable to teens now — from three-way calls on landlines to the complete absence of social media — its satire of high school cliques and the elevation of shallow idiocy has aged surprisingly well. The best visual moments are Cady’s visions of her peers acting like prehistoric primates in a way that shows human adolescence in its truest form — chattering chimps, fearful and desperate to fit in. Meanwhile, the film’s continuing quotability comes from Tina Fey’s ear for teenage dialogue that is simultaneously ridiculous but believeable. What nearly undermines Mean Girls entirely is its denouement, which abandons comedy in favour of tritely traditional teen movie resolution through a handful of speeches. Tina Fey’s script wants us not only to empathise with, but to like these characters, despite minimal consequence or growth from the pain each has caused. That, like ‘fetch’, is not going to happen. Ironically it is this failure to treat her characters sufficiently meanly which almost torpedos Mean Girls in its final act, though it is not enough to undo all that precedes it.

7/10

"A film is a petrified fountain of thought."

(CC) BY-NC 2003-2023 Priyan Meewella

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