By Lynn Venhaus
Nearly 10 years after Pixar Animation Studios raised the bar again with a mind-bending and rib-tickling “Inside Out,” which became an instant classic, a clever sequel thrusts our now 13-year-old heroine Riley into red-alert puberty.

While not as innovative as the original, “Inside Out 2” offers a relatable take on very raw and very real adolescent emotions. An all-star cast, including some returning voices, delivers the same tempo and tone that made the first so endearing.

Both films emphasize that life’s ups and downs are teachable moments, and that’s an admirable focus as the filmmakers try to be faithful to the projects’ goals.

Perhaps no year in our lives is as anxious and awkward as being 13 is. Oh, those raging hormones and their unpredictable effect. I mean, who would ever want to repeat it? We remember, and this universal theme is a rich one.

The sequel connects as an amusing look back for parents and perhaps either as a cautionary tale for what’s ahead with their pre-teen offspring or a reminder of what their grown children were like back then.

Because Riley is dealing with those quicksilver ever-changing emotions, Anxiety, Embarrassment, Envy and Ennui are an imaginative addition. The boredom expressed by Ennui is the funniest running gag.

That fuels a turbo-charged narrative mixing with the already prominent voices in her head — the color-coded network of Joy, Fear, Anger, Sadness and Disgust. That results in a hyper-kinetic energy that feels very busy.

Although the animated comedy-drama-fantasy’s zippy excursion into a teen trying to navigate fitting in while also wanting to stand out does humorously hit all the identifiable pitfalls.

An avid hockey player, Riley (Kensington Tallman) hopes to make the team in high school and enthusiastically attends an exclusive-invite summer camp under the discerning eye of Coach Roberts (Yvette Nicole Brown).

Her dedication and work ethic are admirable, but she struggles to keep her old classmates Grace and Bree (Grace Lu and Sumayyah Nuriddin-Green) close while trying to be pals with the star player Val Ortiz (Lillimar), part of the cool kids’ squad.

It appears that she has a lot to learn, as do the emotions guiding her thoughts and movements. With the original five trying to hold on to control in a command center undergoing changes, the mind games escalate.

Amy Poehler’s perky Joy is in a mad rush to obtain order while Maya Hawke’s jittery fast-talking Anxiety fights to take over. She has brought along three inspired characters — Envy (Ayo Edibiri), Embarrassment (Paul Walter Hauser) and Ennui (Adele Exarchopoulos) to ramp up the pressure. And they are hilarious.

This fab five includes memorable turns from two regulars — Lewis Black as tightly wound Anger and Phyllis Smith as mopey Sadness. Also returning are Riley’s well-meaning parents, voiced by Kyle MacLachlan and Diane Lane.

Without skipping a beat, Tony Hale replaced Bill Hader as the fidgety Fear and Liza Lapira took over from Mindy Kaling as sassy Disgust. Another notable addition is June Squibb as Nostalgia.

The first one benefitted from co-writer and co-director Pete Docter using his personal experience of moving his family from Minnesota to San Francisco. The issues that came with a new home and new school resonated.

A master visual storyteller, Docter is only executive producer on this. However, co-screenwriter Meg LeFauve, who was part of the 2016 Oscar-nominated writing team, has returned. Dave Holstein is a new writer, and Kelsey Mann is the first-time director.

Mann’s previous three Disney films – “The Good Dinosaur,” “Lightyear” and “Onward” were among my most disappointing efforts of the past 10 years. I didn’t think the concepts worked. However, the points about children inevitably growing up comes together here with its can’t-miss interesting characters..

This sequel concentrates on an uncharted period of development in Riley’s maturation, while maintaining a clear focus on her life’s bigger picture – her belief system and that she is a good person. Her strongest attributes are kindness, compassion and level-headedness..

Midway, this journey gets bogged down with an overly complex hunt — yet the introduction of sarcasm is ingenious. as are characters in a vault. Stealing the show is Ron Funches as “Bloofy,” a popular children’s TV cartoon character, and his accessory, Pouchy, voiced by James Austin Johnson of “Saturday Night Live” fame.

NEW EMOTIONS — Disney and Pixar’s “Inside Out 2” returns to the mind of newly minted teenager Riley just as new Emotions show up. Envy (voice of Ayo Edebiri) and Ennui (voice of Adèle Exarchopoulos) are ready to take a turn at the console. © 2024 Disney/Pixar.

Besides an impressive use of state-of-the-art technology for a visually stunning bright palette, the best feature is the cast’s sharp comedic skills, which are showcased as they nimbly deliver quick-witted dialogue.

Although heartfelt, the sequel isn’t the misty-eyed tug on emotions that the original was. Still, its sincerity goes a long way in making this film work.

“Inside Out 2” is a 2024 animated family comedy-drama-fantasy directed by Kelsey Mann and stars Amy Poehler, Maya Hawke, Lewis Black, Tony Hale, Phyllis Smith, Ayo Edebiri, Grace Lu, June Squibb, Sumayyah Nuriddin-Green, Yvette Nicole Brown, Kyle MacLachlan, Diane Lane and Kensington Tallman. It is rated PG for thematic elements and run time is 1 hour, 36 minutes. It opened in theaters June 14. Lynn’s Grade: B.

By Alex McPherson

A thoughtful, meditative, unabashedly far-out sci-fi gem, Edson Oda’s directorial debut, “Nine Days,” asks intriguing questions about the rollercoaster of life.

This quietly bonkers film centers around Will (Winston Duke), an individual deciding which souls get the privilege of being born in a human body. He watches present-day Point Of View footage from everyone he’s allowed into the “real world” from the comfort of his modest house in the middle of nowhere, a salt lake limbo, taking copious notes on their day-to-days in an attempt to understand humanity.

Sometimes accompanied by his good-hearted helper and friend, Kyo (Benedict Wong), Will takes pride in seeing them lead healthy, happy lives. One of them unexpectedly perishes, however, tearing Will apart inside as he struggles to make sense of what happened — vowing to never let it happen again. 

Thus, a vacancy opens that needs to be filled. Will meets a variety of applicants wishing to experience life. This archetypal group of souls includes the self-doubting Mike (David Rysdahl), the laid-back Alexander (Tony Hale), the hard-justice-driven Kane (Bill Skarsgård), the earnest, wide-eyed Maria (Arianna Ortiz), and the inquisitive, plot-altering Emma (Zazie Beetz), among others.

They are asked to watch the POV screens and to give answers to various questions examining their moral toughness over the course of nine days, with a victor announced at the end. Upon failing, some applicants get a chance to have a moment they’ve observed recreated for them before disappearing into nothingness. As the group winnows in the passing days, Will is forced to reckon with his own inner demons and consider the unknowable nature of life itself.

A captivating effort from everyone involved, “Nine Days” uses this bold premise to explore what it means to be alive. Oda’s unconventional allegory plays out in frequently powerful fashion — carried by excellent performances and an ethereal, at times mournful atmosphere pulsing with feeling. Along with methodical editing, arresting cinematography, and Antonio Pinto’s haunting score, the film brings viewers into this twisted median space in a manner mixing warmth with menace. 

Although the finer details of the film’s universe aren’t clarified (don’t think too much about how or why Will acquired his “job”), “Nine Days” sinks emotional hooks into viewers from the first frames onward. It’s somewhat of a downbeat watch, prizing patient reflection over bombast, but “Nine Days” knows when to strike lighter notes as well and occasionally poke fun at itself despite the bleakness.

Duke does sterling work portraying a mysterious man playing God who’s trapped by his own cynical worldview, his decisions rooted in a desire to protect the applicants from a reality he views as cruel and demoralizing. Thanks to Duke’s pathos and the script’s empathy towards Will, his troubled mindset remains easy to connect with regardless of his flaws. Duke, with wire-rimmed glasses and a reserved demeanor, conveys Will’s inner tensions with a subtle performance that brilliantly showcases his severe facade gradually being chipped away.

Similarly effective is Beetz, a compassionate critical-thinker who doesn’t view human beings in a simplistic manner. Rather, she realizes the importance of relishing the good in the world, not letting negativity or nihilism corrupt her worldview. Her conversations with Will, inquiring into his own troubled past and encouraging him to reflect on what it all means, feature some of the most moving moments in “Nine Days,” tying into overarching takeaways. 

Wong is a lovable, comforting presence as Kyo, helping Will recognize his faults and his potential to grow as a human being, providing the bulk of the film’s unexpected humor. The other characters, brought to (sort-of) life by a wonderful cast, get less screen time and aren’t as well developed as the main three, but there’s more to most of them than meets the eye. Like every human soul, they cannot be simplified to a few characteristics — rendering their passage or failure all the more heartbreaking. Their “Last Moments” are masterfully directed and difficult to forget. 

Heavy without being dour, intricate yet accessible, “Nine Days” builds towards a conclusion that contains one of 2021’s best scenes. All the emotions felt throughout the film coalesce into a marvelous, life-affirming, slightly convenient resolution that’s aware of its own bizarreness while remaining highly impactful. 

An assured effort from everyone involved, “Nine Days” satisfies both the mind and the soul. The world is full of darkness, but there’s still rays of hope bursting through the shadows. Oda’s film is a provocative reminder to appreciate the light where we can and strive to see another day in our beautifully inexplicable existence. 

“Nine Days” is a 2020 sci-fi fantasy drama written and directed by Edson Oda and starring Winston Duke, Benedict Wong, Zazie Beetz, Tony Hale, David Rysdahl, Arianna Ortiz and Bill Skarsgard, Rated R for language, its runtime is 2 hours, 4 minutes. The film is available in theaters beginning on Aug. 6. Alex’s Grade: A-