Interlude: Inside Out

This was a beautiful and brilliant movie, and I can’t wait to watch it again on DVD. I’m not going to review it. Instead, I’m going to answer each of the “Everything Wrong With” points from the Cinemasins video:

And yes, they did concede that this was a wonderful movie and they’re just making these lame points because they’re assholes. So I’m doing this because I’m an asshole to Cinemasins.

Here we go.

  • I don’t get the complaint about logos they make in every single movie they sin. Get over it. Sin denied.
  • Same goes for narration. You don’t want narration? Then I won’t bother explaining to you why sin denied.
  • I don’t get the memory troll joke, but obviously the core memories (and indeed other memories) aren’t literally and vividly remembered – they go into deeper instinctive foundation-memory. They’re not all playing on the projector. Sin denied.
  • “Discount marble madness” doesn’t actually mean anything. Sin denied.
  • Yes, she would have run over the cord. Until her parents put the proverbial fear of God into her and made her creep over it. Kinda the point there, sparky. Sin denied.
  • I’ve never seen Herman’s Head but okay, this movie is derivative or a retelling of a familiar premise. I’ll allow this sin because let’s be honest, I’m going to be denying almost all of them. 1 sin. I’ll keep a running count.
  • Uh, the emotion of Disgust is disgusted by definition. I don’t agree with this whole “broccoli” thing on a personal level because both of my kids fucking love broccoli, so we’ll come back to this, but I don’t agree that this particular facet of it is sinworthy. Do these guys even know how kids work? Kids decide they don’t like stuff just because. Just because it’s new. It’s a deep-seated survival instinct to distrust the unfamiliar. Kids do this shit. Sin denied.
  • Yes, we’re primates. We don’t have that many primal emotions, and certainly not many positive ones. Shit, even Joy is stretching it, and she only exists as the opposite of Sadness, another new addition to our repertoire. Fear and Anger would basically do the trick in most cases, and they have to learn and grow and interact as their host does. None of the other “emotions” Cinemasins listed here are anything but combinations and cooperations between the base emotions. No, sin denied.
  • Yeah, that is an asshole point. Sin denied.
  • Correct. You know how the emotion of anger actually works, right? That this is what happens when you experience uncontrollable rage? Sin denied. And I’m removing a sin because this was a retarded thing for you to get wrong. 0 sins.
  • Yes, you get the point – but it could have been shot from eyeball-view. I’ll allow the sin, but only because I’m removing it again in the very next paragraph. 1 sin.
  • I’m not seeing how these vast, impossibly complex and beautiful conceptual realms are a “discount” anything. Sin denied, previous sin removed. 0 sins.
  • Uh, no you’re not. Sin denied.
  • Nope, those are personality constructs, not emotions. Yeah, “whatever”. Sin denied.
  • Well, except they do have a say in it, because they control her actions and reactions and those in turn build the memories and those build the personality islands. So, sin denied.
  • Except she doesn’t hold onto them forever. Long term memory can hold a lot of stuff that you assume is forgotten, but later in the movie we do see the memories dropping out of even long-term. Sin denied.
  • Yes. You know how kids work, right? Her parents could have been saying “we’re moving house” for weeks and months, without it actually getting through to her on an emotional level. Sin denied.
  • Yeah, it’s a plot device. Plots have devices. And in all likelihood the creators of these stories consider the “moving house” thing to be one they want to tell stories about. And it’s a huge deal for an adult to move house, let alone a kid. Sin denied.
  • Makes no sense. If anything, throwing the Golden Gate Bridge into a movie gives it extra Hollywood cred for me. Plus it’s an easy way to show a new city that most Western movie-watchers will recognise. Sin denied.
  • Yeah, this is a non-comment. Of course Riley has no understanding of the San Francisco real-estate market. Sin denied.
  • Human condition in a nutshell from childhood innocence to adult barely-sanity. Sin denied. I won’t remove a sin for your colossal missing of the point here, but you’re on thin ice, buddy.
  • Because they’re Riley’s emotions. Sin denied.
  • Because Riley is dealing with a whole lot of abstract and unfamiliar anxiety and turmoil. Also, in this development stage before the “invention” of complex mixed-emotional memories, there could feasibly be an angry, scared, disgusted and sad version of each memory, for these intense and confused situations. Sin denied.
  • How is this a sin? Denied.
  • It’s a joke. Sin denied.
  • Did Chicago put broccoli on a pizza? Sin denied, and I suspect you’re trying to be a smarmy pizza-snob and that shit doesn’t fly internationally, so watch it.
  • Fair enough, although they could have had a whole lot of others and just weren’t serving them for some bullshit reason. This is a stretch for plot purposes so I guess I will allow the sin. 1 sin.
  • Emotional turmoil. How is this a sin? Sin denied.
  • Sometimes parents will accidentally do this. Maybe it is a cliché, but I don’t think it’s such a hackneyed one that it deserves a sin. But okay, if you absolutely insist on “things that actually happen and can cause character angst” being clichés and therefore automatically bad … 2 sins. But I’m being nice to you because it’s Christmas.
  • Sometimes they are, yeah. And I don’t see how this is literal. Sin denied.
  • That’s … not a sin. Sin denied.
  • Do you have control over what you dream? You must be one of those amazing gurus I read about on Buzzfeed and shit. Yes, in this movie the emotions control the conscious thought and voluntary actions of the host. And have no power over the stuff that’s happening beneath the surface. Sin denied.
  • That’s not a sin. That’s a fucking representation of something heartbreaking happening inside a kid’s mind as she tries – and fails – to consciously ignore her sadness and just be happy all the time. Sin removed for your obtuse stupidity. 1 sin.
  • Again, you’re not in control of your emotions all the time unless you are a Vulcan (and sometimes not even then). Sometimes Sadness will run the show, and then some bad memories are going to happen. I was originally a bit frustrated by Joy’s inability to just keep Sadness under her watchful eye the whole time too, before literally ten seconds’ thought revealed to me that this was exactly the point. You can’t control your emotions that way. Sin denied.
  • Yeah, fair. Although this is sort of why Riley is just angry and disgusted and scared from here on in. So, I’m ruling on this one. Sin denied.
  • And this is exactly why you don’t choose your emotions and why the five they chose were so spot-on. Sin denied.
  • Uh, and also because the human mind. Sin denied.
  • Not sure why this would be a sin. I know you’re just reaching for stuff to ping at this point, but sin denied.
  • Um, let me think YEEEES. Sin denied.
  • I thought this was one of the most interesting and brilliant parts of the movie. Riley is a prepubescent kid. She hasn’t had her gender roles ingrained into her by society yet. It’s fucking amazing. Sin denied, sin removed, 0 sins.
  • I don’t see how it’s racist. Sexist, maybe. Impractical? Not really – remember, this is just a representation of what is happening. There isn’t a literal control panel. There isn’t a literal screen showing the game. Sin denied.
  • Again, this is a plot point but not a sin. It’s also a representation of things occurring inside Riley’s mind to deny her a proper, balanced emotional response. Sin denied.
  • Also not a sin. They get away from it. And in the first part of their attempted evasion, they can’t run sideways because they’re on a narrow bridge. Sin denied.
  • Good question. I think there was some explanation of why Sadness knew this, to do with her hobbies / study … but I can’t recall. I’ll allow it. 1 sin.
  • Good point (you dumb gorillas) – but if you’re going to nitpick, I can nitpick better. The very act of entering the phone number would commit it to long-term memory. You’ll notice they’re already grey, untouched by an emotional element. And whoosh, there they go into nothingness. An adult, who actually memorises phone numbers (and PINs, and all the rest), would not let these be drawn off into waste disposal. Obviously. Unless they happen to forget, which happens too. Sin denied.
  • I don’t see happiness or sadness there. She’s just vegetating. Sin denied.
  • Uh, they can’t. Sort of the point. They’re trying, but failing. It might be more pure to their characters if they just acted like themselves-at-a-10 all the time, but it’s actually more in keeping with an actual human’s emotional structure that they don’t do that. Sin denied.
  • Obviously, the memories he is taking are not going to be lost, they’ll just end up associated with the imaginary friend. That is a brilliant connection and an amazing bit of psychology illustrated. Sin denied.
  • He’s a figment. He’s not going to respond with instant plot-serving heroism. And you know perfectly well that you would have sinned it if he had. Sin denied.
  • It is a funny question, but see those enormous banks of colour-coded memories? Yeah, each of those colours corresponds to one of the Big Five. So yeah, they would all know who Joy is. A better question would be why most of the other bureaucrats of the subconscious don’t idolise her, but you don’t ask that. Sin denied.
  • Yes, as a plot device to show how he cries candy. Sin denied.
  • It’s called “a story”. Sin denied. In fact, this is such a bullshit sin, I’m removing one again. 0 sins.
  • Not much of a sin, but this sort of addresses the whole question of detached emotions moving through a person’s mind, and it doesn’t really get touched on elsewhere so … fine. 1 sin.
  • Because parents, and school, and Riley is a kid. Jesus fuck. Sin denied.
  • We already know (and you have repeatedly, inconsistently sinned) that the emotions, and memories, are in control of Riley’s conscious thought and actions. So yes. Sin denied.
  • What about it? Sin denied, and also, I’m smacking you lightly in the back of the head. *smacks*
  • Probably not the only dream that is happening at that moment, or indeed indicative of the majority of her dreams. But yes, lots of dreams start out with familiar events. Sin denied.
  • I don’t know. Whatever. 2 sins then.
  • No, pretty sure there are no “happy thoughts” in the subconscious. Not in that part of the subconscious, anyway. Sorry. And no, subconscious horrors don’t have a part in the surface-psyche – not until they come to the surface and wreak havoc, which we see happen later. Sin denied.
  • Yeah, the broccoli joke was a bit overblown. Funny though, and it could feasibly have a deeper emotional significance that she only recognises subconsciously. Sin denied.
  • Um, babies and little kids (and it’s clearly been a while since Riley was at her grandma’s place) can be absolutely horror-struck by vacuum cleaners and other loud appliances. Suck it up. Do you see what I did there? I’m removing a sin for that joke, and also (the same sin) for your inability to grasp how the subconscious works. 1 sin.
  • Different balloon constructions. Also, the balloon cage contains the imaginary friend. Sin denied.
  • She might have a vague intention of running away, but sure, your train of thought can be derailed. It obviously wasn’t permanent anyway, nor did it apply to all her thoughts. Train of thought does not equal thought itself. Yes, you are overthinking but that’s not the problem. The problem is, you’re overthinking and are wrong. Sin denied.
  • Sure, they got lucky. I can pass this off as just more “this is how you story”, but I’ll allow the sin because Cinemasins is clearly trying so very hard, after viewers begged them to sin this movie. 2 sins.
  • Yeah, dick move. How is that a sin? Sin denied.
  • Excellent point. The Nothing was very similar to the destruction going on in this movie. Same basic concept of adulthood and loss of innocence. You seem to be missing this point even while making it, because if you got that point there would be no way you’d sin it. I’m going to help you out. 1 sin. You’re welcome.
  • They didn’t know it was a “harmless fall”, because nothing has ever come back from there. It’s only through amazing effort and strength and sacrifice that Joy does come back from it. Yes, it’s a death sentence. Yes, it would have been way worse if the train had gone in there. That’s probably why it didn’t. Call it the mind protecting itself from total destruction. Shit, maybe when some people completely go insane, it’s because this is happening to them without the lucky escapes. The more I think about it, the more I 0 sins, assholes.
  • True. Or maybe Riley has suppressed the memory? That happens, read a book. Even if she didn’t (can suppressed memories be brought back up from the chasm by hypnosis?), maybe there are more similar memories. Like you said, if there’s a bunch of memories just for Dad saying “the delivery van’s not coming until Thursday”, there’s likely to be a heap of memories about that awful school day. Sin denied.
  • No, the emotions experience her actions and statements, even if they do have some control over their origins. Sin denied.
  • Yes. And this is not a sin, it’s the point of the movie. -1 sins.
  • Where else would this long-forgotten bit of Riley’s imagination be? Sin denied.
  • Don’t know. Why are some things physical constructs and others memory-marbles? I’m okay with memories being one thing and other elements of the psyche being other things, but if you want to sin it, okay. That only brings you back to 0 sins though, bitch.
  • That’s not a cliché. Or if it is, it’s done so amazingly here that it’s not enough for me to just deny the sin. -1 sins.
  • Because things down there disappear. And he was way older than Joy, at least in the specialised sense of him being an imaginary friend and her being an emotion. He’d already basically been forgotten. He didn’t have as far to go. Sin denied.
  • This was the same sin as above, so … because things down there disappear. And he was way older than Joy, at least in the specialised sense of him being an imaginary friend and her being an emotion. He’d already basically been forgotten. He didn’t have as far to go. Sin denied. Also I’m removing a sin to punish you for lazily making one issue into two sins. -2 sins.
  • I was man-weeping through this entire scene, the name had no impact on me. I wish it had stopped me crying. I’ll allow the sin, though. -1 sins.
  • Could have been. Except she’s nowhere near where Sadness was doing that before, right? Meh, I’ll allow it. 0 sins.
  • Again, you get the point in the process of intentionally missing it. That’s exactly what Sadness is doing to those memories. And yes, she could do the same with all the others. It’s just semi-random what happens to be on the bottom row. It’s a representation. Sin denied.
  • Let me think YEEEEES. Sin denied.
  • Not a sin. Denied.
  • Good call. That puts my count back to -2 sins.
  • No shit Twilight. That’s the joke. The fact that Sadness likes it makes the joke brilliant. -3 sins.
  • Yes. It’s the difference between childhood and adolescence. Idiot. -4 sins.
  • Agreed. -5 sins.
  • Fine, I’ll allow this sin, the “emotions literally control activity” idea is played fast and loose for narrative convenience. -4 sins.
  • Not really, they’re facets of her emotional makeup. Sin denied.
  • Agreed. -5 sins.


SENTENCE: Buy the shit out of it on DVD, and man-weep all over again

About Hatboy

I’m not often driven to introspection or reflection, but the question does come up sometimes. The big question. So big, there’s just no containing it within the puny boundaries of a single set of punctuationary bookends. Who are these mysterious and unsung heroes of obscurity and shadow? What is their origin story? Do they have a prequel trilogy? What are their secret identities? What are their public identities, for that matter? What are their powers? Their abilities? Their haunted pasts and troubled futures? Their modus operandi? Where do they live anyway, and when? What do they do for a living? Do they really have these fantastical adventures, or is it a dazzlingly intellectual and overwrought metaphor? Or is it perhaps a smug and post-modern sort of metaphor? Is it a plain stupid metaphor, hedged around with thick wads of plausible deniability, a soap bubble of illusory plot dependent upon readers who don’t dare question it for fear of looking foolish? A flight of fancy, having dozed off in front of the television during an episode of something suitably spaceship-oriented? Do they have a quest, a handler, a mission statement, a department-level development objective in five stages? I am Hatboy.
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3 Responses to Interlude: Inside Out

  1. aaronthepatriot says:

    Wow. If I didn’t already learn this lesson, this blog makes it clear you DO NOT fuck with movies that Hatboy likes. Not if you value your life/free time/sanity.

    That was extensive, well done, man. And I wouldn’t have dreamed of dissecting this awesome movie like they did. Jesus. Idiots.

  2. Pingback: Solo (a review) | Hatboy's Hatstand

  3. Pingback: The Good, the Bad, and the UGGGHH: 2020 in a quick mess of movie and TV reviews | Hatboy's Hatstand

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