INSIDE OUT: Sweet Emotions

Twenty years ago Pixar Animation Studios revolutionized cinema with the first full length completely computer-generated film. Two decades later and Pixar is still one of the most consistently groundbreaking studios in the business. Inside Out provided a great opportunity for Pixar to reinvent itself in the wake of a slough of mediocrity.

Other Reviews in this Series.

Directors: Pete Docter, Ronaldo Del Carmen (co-director)

Writers: Pete Docter, Ronaldo Del Carmen, Meg LeFauve, Josh Cooley

Cast: Amy Poehler, Phyllis Smith, Bill Hader, Lewis Black, Mindy Kaling, Richard Kind, Kaitlyn Dias, Diane Lane, Kyle MacLachlan

Runtime: 94 mins.

2015

A scientist believes if you pick a lie to pieces, the pieces are the truth!

-Eugene O'Neill

The idea that your body is one whole and complete object is a lie. The idea that you govern yourself by a unified rational consciousness is a lie. The idea that you are in control is a lie. Inside Out picks this lie to pieces and represents the pieces anthropomorphically. They are Joy, Sadness, Fear, Anger, Disgust, and any number of other little blobby brain workers skittering through your mind. The five primary emotions live out their lives in the control center (Headquarters). They are literally in control.

Pixar's latest film feels like a discovery. There's a whole world inside of us--more than that, a whole social system. That system is responsible for all the functions of the brain (emotions, dreams, memories, abstract thought...), and when the system is broken, the person is broken. This is the world of Inside Out, where the stakes are of the utmost magnitude: a little girl's happiness.

LEFT BEHIND: An Open Letter

Director: Vic Armstrong
Writers: Paul Lalonde, John Patus
Cast: Nicolas Cage
Runtime: 110 mins.
2014

Dear Nicolas Cage,

I write to you as a longtime examiner of your livelihood. I currently hold the unique position of one who has seen your most recent attempt to shrug off crushing debt, Left Behind. I found it mostly to be a movie. That being said, I have a few questions that I believe you, and only you, Nicolas Cage, can answer.

I want to start with something real. Are you a religious man? I know that you were raised Catholic and that you staunchly refuse to comment upon your faith in interviews. I know your brother is a Christian pastor. But what about you? In interviews you suggest that taking this role was not just about the money, that you connected with the script and its themes. If that is really true, why do you sleepwalk through this movie like it's a PSA for fire safety? You're more invested in this library poster.

JURASSIC WORLD: Incoherentus Rex

Director: Colin Trevorrow
Writers: Rick Jaffa, Amanda Silver, Colin Trevorrow, Derek Connolly
Cast: Chris Pratt, Bryce Dallas Howard, Vincent D'Onofrio, Ty Simpkins, Nick Robinson, Irrfan Khan, BD Wong
Runtime: 124 mins.
2015

Other reviews in this series:

Jurassic Park
The Lost World
Jurassic Park III

This week I've been posting reviews of the Jurassic series and refining my theory that the unifying theme of the franchise is that each movie functions as a metacommentary on its own existence. Not only has this been a fun discovery, it has also pushed me towards a deeper (or at least more forgiving) perspective on the sequels.

Jurassic World continues the cursorily self-aware tradition of the previous films. In this sequel, appearing twenty-two years after the original and fourteen years after the last entry, the theme park is finally open. Claire (Bryce Dallas Howard) is running a tight ship. She's calculating, efficient, and has to deal with her two nephews for the weekend! She abandons them though.

Attendance numbers spike whenever the genetics team, led by Dr. Henry Wu (BD Wong), cook up a new attraction, so they've created the biggest baddie of them all, Indominus Rex. To nobody's surprise but the characters', the Indominus Rex escapes and begins wreaking dramatically pertinent havoc on the park. It's up to Owen (Chris Pratt) and his raptor buddies to save the day.

JURASSIC PARK III: Cheerful Disrespect

Director: Joe Johnston
Writers: Peter Buchman, Alexander Payne, Jim Taylor
Cast: Sam Neill, William H. Macy, Tea Leoni, Alessandro Nivola, Mark Harelik, Laura Dern
Runtime: 92 mins.
2001

Other reviews in this series:

Jurassic Park
The Lost World
Jurassic World

Having not seen the movie in years, I fully expected Jurassic Park III to be the low point of the franchise. After all, this is the first Jurassic Park film not directed by the legendary Steven Spielberg. How could it possibly stack up?

Imagine my surprise when I had a blast with Jurassic Park III. It's streamlined and willfully stupid--the perfect antidote for The Lost World's cynical gloom. Not only that, but the film fits beautifully with my ongoing theory about the franchise's self-awareness.

THE LOST WORLD: Metasequelitis

Director: Steven Spielberg
Writer: David Koepp
Cast: Jeff Goldblum, Julianne Moore, Pete Postlethwaite, Arliss Howard, Vince Vaughn, Richard Schiff, Vanessa Lee Chester, Richard Attenborough
Runtime: 129 mins.
1997

Other reviews in this series:

Jurassic Park
Jurassic Park III
Jurassic World

It was as if Spielberg threw up his arms and yelled, "Alright, you want more dinosaurs? YOU'RE GETTING MORE GODDAMNED DINOSAURS."

I called Jurassic Park a metapromotional movie, and if that is the case, then The Lost World is certainly a self-reflexive sequel about sequels. The movie begins with John Hammond (an increasingly feeble Richard Attenborough) explaining to a cynical cranky Ian Malcolm (Jeff Goldblum) that Isla Nublar is not the only island with dinosaurs on it. There's another one called Isla Sorna, and the dinos there are flourishing in the wild. Having given up on his capitalist aspirations, Hammond simply wants Malcolm for a team intended to observe and document the animals in the wild: a team that includes photojournalist Nick Van Owen (Vince Vaughn), weapons expert Eddie Carr (Richard Schiff), and paleontologist Sarah Harding (Julianne Moore), who happens to be Malcolm's girlfriend... and also happens to be on the island already, without his knowledge. So he is strongarmed into returning to his worst nightmare.

Once the team arrives on the island, they find they are not alone. Nefarious corporation InGen has sent an enormous squad--led by big game hunter Roland Tembo (Pete Postlethwaite) and prissy businessman Peter Ludlow (Arliss Howard)--to pillage the island, capture dinosaurs, and transport them to San Diego. This plays out as an extended action sequence that involves many jeeps, many fancy guns, and many species of dinosaur being brutalized as our heroes watch through binoculars from an outcropping. The heroes function as an audience stand-in for the scene, watching the perverse spectacle play out in front of them with stricken looks on their faces. In this moment, Spielberg's metacommentary couldn't be clearer: You wanted a sequel because you loved the wonder and majesty of Jurassic Park, but the serialization of a self-contained story can only violate the wonder of the original. The spectacle is captured and caged by greedy capitalists, all for the benefit of a viewing audience.

JURASSIC PARK: A Paradigm Shift

Director: Steven Spielberg
Writers: Michael Crichton, David Koepp
Cast: Sam Neill, Laura Dern, Jeff Goldblum, Richard Attenborough, Samuel L. Jackson, Bob Peck, Martin Ferrero, Joseph Mazzello, Ariana Richards, Wayne Knight
Runtime: 127 mins.
1993

Other reviews in this series:

The Lost World
Jurassic Park III
Jurassic World

I must admit upfront, it would be impossible for me to craft anything close to an objective review of Jurassic Park. Released in 1993 (my birth year), this is on the short list of films that have been omnipresent in my life, having grown up with an older brother who worshiped Crichton and Spielberg both. I must have seen it dozens of times, and when a piece of art saturates your childhood, you can't help but sink into every piece of dialogue and camera shot as if it represents how the movie inevitably must be.

All that is to say, I love Jurassic Park with all my heart, but I have a poor idea of exactly how proficient the movie is. Part of that is me, but stepping back to take a look at the film's history makes one realize just how much of that has to do with Spielberg's artistry, both within and without of the film itself.