Yet another overrated production

Rating: 6/10 (10 September 2016)

Inside out: yet another overrated production Little am I impressed by Inside Out. An ordinate amount of acclaim has been unwisely put in such an average animation like this.
The concept art of the whole animation deserves a humble degree of my fondness. Too plain as it is, the whole concept revolves about geometric shapes and man-made objects. If this is an approach to render the film more accessible to the younger audience, it is at its own cost of making it too artificial, losing touch with organic shapes and natural elements. One's brain is depicted as a kingdom, with the headquarter filled with curvy interior design of a flamboyant palette. I simply have a slight detestation for it. To aggravate this matter, everything else in the realm of one's mind is designed similarly. I wouldn't dare to judge the animators' creativity but rather say it's not my taste.
Regarding the character design, it was only fine. Though I'm quite disappointed that Joy is modelled similar to Tinker Bell; is it really demanding to covet a novel depiction of character? And there's a discrepancy that Riley's Anger is a male, while others are consistent with the host's gender. It's utterly reasonable attribute this to the laziness to have the convenience and the ease of illustrating contrasting human personalities via gender.
The plot is barely average. How many times have we encountered a work whereby the child gets fed up with the family and leaves? Never would I attempt to discredit the effectiveness of such a motif, but in an age like this why would the taste of the general population be still favourable of this antiquated concept? I don't think I'm the only who is bored by this style of constructing the climax and resolution.
No amount of derision of mine would suffice to highlight how misleading the story line is. Before getting to the main message, some analytical ink ought to be spilled over the interpretation of some key rising actions. Riley's psyche starts to be on a slippery slope when Joy got lost out of the headquarter. And the triggering intent for this is Joy being adamant not to let the Core Memory be contaminated with sadness. This implies that the transformation of Riley's mental state is purely reliant on internal factors, not external. Although this fallacy may past the eyes of several viewers as it seems to fit the story line, it doesn't add up.
The opponent may rebut by saying that external factors (Riley's occasions of sadness) stimulates Joy to be more alert of the state of happiness of her host. Well, I totally disagree with this. Sadness contaminated the memory marbles without any definite intents: the key driving force of Joy's excessive amount of alert is Sadness' nebulous acts of touching the memories, which is merely coincidental with regards to the plot.
Furthermore, the escalation of the story line boils down to Sadness' puzzling desire to touch the marbles. I don't find it convincing to attribute this to Sadness' wish to be held inclusive, since Joy appears to dominate the control of Ridley and be leaving out of Sadness. Possibly, Sadness is a complete hypocrite as the immediate response she gives Joy when the marble is seen contaminated is always that "I'm sorry," while still persists on this apologetic act.
The ultimate message is brilliant, though: emotions are not exclusive, but rather an amalgam. Moreover, the subtle meaning when Joy realises the significance of Sadness is about mutual understanding, which is the prerequisite for inclusivity.
However, the urge to express disapproval for the notion that sadness is essential for sympathy is one that I can't resist. It's the willingness to be emotionally naked, to let all the insecurities be exposed that sympathy is cultivated on. Of course maybe I set my expectations too high for a film made for kids like this.