Now Joy and Sadness have to get back to headquarters before Anger, Fear and Disgust turn Riley into a completely different person.All of this is set up with the flair and wit you would expect from Pixar, although not with the clarity of the studio’s finest work. Roaming this strange, extra-terrestrial terrain, they get lost in the maze of shelves where Riley’s memories are stored, they visit the sound stage where her dreams are performed, they bump into her long-neglected imaginary friend, and they take a ride onher Train of Thought.

Soon, the headquarters are in chaos, and Joy and Sadness are flung out into the mental wilderness which surrounds it. (Like so many children in American films, she’s an only child.) But when the family moves to San Francisco, away from her friends and favourite places, Sadness starts to make her presence felt. Together they stand at a console in Riley’s ‘headquarters’, peering at a monitor which shows them everything she sees, and taking it in turns to influence her.īut Joy is the one who rules the roost and Riley is very happy living in Minnesota with her loving parents. Her four co-pilots are the mopey blue Sadness, the grouchy red Anger, the fretful purple Fear and the snooty green Disgust. The leader of the team is a chirpy Tinkerbell lookalike, Joy – voiced by Amy Poehler, and not a million miles away from the ultra-positive control freak she played in Parks & Recreation. Taking us inside the head of an 11-year-old girl named Riley, the film introduces us to the five sprites who govern her emotions. It’s a conceit which has been revived – with a lot less emphasis on procreation – by Pixar’s fizzy new cartoon, Inside Out. His mind, it seems, is actually a command centre where a dedicated crew is busy adjusting his behaviour. There’s a sublime sketch in Woody Allen’s 1972 comedy, Everything You Always Wanted to Know About Sex (But Were Afraid To Ask), which is set inside a young man’s brain.

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