Review: ‘Inside Out 2’ by Pixar Animation Studios for Walt Disney Pictures

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Updated 09 July 2024
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Review: ‘Inside Out 2’ by Pixar Animation Studios for Walt Disney Pictures

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  • Newcomer to the “Inside Out” world is Maya Hawke as Anxiety, the angsty new orange-tinged emotion that is likely the most relatable for many teens

If you have been reluctant to watch the much talked about family-friendly, coming-of-age animated film, “Inside Out 2,” it might be time to give it a watch. With a budget of $200 million, the film has generated $1.134 billion in the first month since its release and that number is projected to climb.

Is it worth the hype? It seems so.

Produced by Pixar Animation Studios for Walt Disney Pictures, the 2024 film comes nine years after the first “Inside Out.”

The film picks up where the first left off, telling the story of blue-eyed, blonde-haired Riley Andersen.

During the first years of her life, Riley had advocates that lived within her head that helped run her life. Joy, Sadness, Anger, Fear and Disgust — each with their own personality and color — have been running the show.

But something peculiar happens. After Riley blows out the candles of her 13th birthday cake, everything changes. And more colors pop into her world.

Overnight, Riley’s life — and body — changes. This is not an awkward “Oh, my body is changing from a biological standpoint” story. It is about how emotions and belief systems shift once you hit puberty. It is about dealing with regulating your emotions instead of simply self-soothing. It is about practicing empathy while maintaining your integrity. It is about opening your eyes and finding your way into the world you live in, either in your mind or in your physical reality. Or both.

Newcomer Anxiety shows up with Embarrassment, Envy and Ennui in tow.

Riley still centers ice hockey and her best friends but now has to deal with new complex emotions that are new to her.

With a newly-formed element taking over Riley’s mind, identified as her “Sense of Self,” the party gets bigger. That new part of her brain, which houses good and bad memories, becomes confusing. And now, her new belief system keeps morphing with every decision she makes.

Amy Poehler returns to voice Joy, the protective yellow emotion that takes on a leadership role and feels most responsible to ensure that Riley is constantly happy.

Newcomer to the “Inside Out” world is Maya Hawke as Anxiety, the angsty new orange-tinged emotion that is likely the most relatable for many teens. She tries to avoid pain but clumsily causes even more pain.

While the two films are nine years apart, Riley was 11 in the first film and is 13 in the newest version.

And while some of the cast returned for this iteration, it also had some big changes.

This time, Riley’s teen voice comes from Kensington Tallman who took over the role from Kaitlyn Rose Dias, who voiced Riley in the first film. Diane Lane returned to voice Riley’s mother, while the voice actor who played her father changed.

In fact, “Inside Out 2” is the feature directorial debut of Kelsey Mann, who took over from Pete Docter, who directed the first. Meg LeFauve returned as co-writer of the screenplay, and the story was conceived by both LeFauve and Mann.

You could easily watch “Inside Out 2” without having seen its predecessor — the standalone narrative in the sequel offers a fresh chapter in the story. But once you watch this version, you might be compelled the watch the first.

To me, the relatable push-and-pull between the “I’m not good enough” and “I’m a good person” embodies what many of us go through, no matter our age. The fact that this comes from the point of view of a young girl further shows the filmmakers’ clear stance on attempting to make girls’ complex emotions worthy of a complete film.

It will make you feel like you’ve just brought out your inside emotions, well, out.

 

 


Movies backed by Saudi Arabia’s Red Sea Film Foundation to feature at Venice Film Festival

Movies backed by Saudi Arabia’s Red Sea Film Foundation to feature at Venice Film Festival
Updated 23 July 2024
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Movies backed by Saudi Arabia’s Red Sea Film Foundation to feature at Venice Film Festival

Movies backed by Saudi Arabia’s Red Sea Film Foundation to feature at Venice Film Festival
  • International jury led by acclaimed French actor Isabelle Huppert

DUBAI: Two films backed by Saudi Arabia’s Red Sea Film Foundation are to be screened at the upcoming 81st edition of the Venice Film Festival.

Tunisian director Mehdi M. Barsaoui’s “Aicha,” which was supported by the Red Sea Fund and the Red Sea Souk, will feature in the competitive Orizzonti section, which highlights international films that represent the latest aesthetic and expressive trends.

“Aicha” is Barsaoui’s second feature following his award-winning drama “A Son.” The film’s plot revolves around a young woman living in a backwater in southern Tunisia who attempts to build a new life in Tunis after she is reported as having died in a tragic bus crash.

Egyptian filmmaker Khaled Mansour’s “Seeking Haven For Mr. Rambo,” which was part of the Red Sea Lodge development program in 2021 and supported by the Red Sea Fund, will have its world premiere in the Orizzonti Extra section of the festival, which highlights young talent in international cinema.

The film follows a young man as he confronts the fears of his past and embarks on a journey to save his dog and best friend from an unknown fate.

Tim Burton’s “Beetlejuice Beetlejuice” — starring Michael Keaton, Winona Ryder, Catherine O’Hara, Justin Theroux, Monica Bellucci, Jenna Ortega, and Willem Dafoe — is the out-of-competition opener at the event.

This year’s international jury will be led by acclaimed French actor Isabelle Huppert, and includes James Gray (“Ad Astra”), Andrew Haigh (“All of Us Strangers”), Agnieszka Holland (“Green Border”), Kleber Mendonca Filho (“Bacurau”), Abderrahmane Sissako (“Bamako”), Giuseppe Tornatore (“Cinema Paradiso”), Julia von Heinz (“Treasure”), and Zhang Ziyi (“Memoirs of a Geisha”).
 


‘Those About to Die’ stars talk new swords-and-sandals series set in Ancient Rome

‘Those About to Die’ stars talk new swords-and-sandals series set in Ancient Rome
Updated 22 July 2024
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‘Those About to Die’ stars talk new swords-and-sandals series set in Ancient Rome

‘Those About to Die’ stars talk new swords-and-sandals series set in Ancient Rome

DUBAI: British-Yemeni actor Moe Hashim (“Ted Lasso”) and Iceland’s Johannes Haukur Johannesson (“Succession”) spoke to Arab News recently about playing gladiator frenemies in new swords-and-sandal series “Those About to Die,” streaming in the Middle East on Starzplay.

The action-packed series set in Rome in 79 A.D., stars the legendary Anthony Hopkins as Emperor Vespasian, the founder of the Flavian dynasty, and is inspired by Daniel Mannix’s classic non-fiction book of the same name.

Johannes Haukur Johannesson and Moe Hashim star in ‘Those About to Die.’ (Courtesy of Starzplay)

Hashim, known for his minor role as footballer Moe Bumbercatch in hit Apple TV + series “Ted Lasso,” plays Kwame, a lion tracker, who has been taken to train as a gladiator and now faces an existence that means fighting for his life every day.

When asked what drew him to the series, Hashim said: “For me, (it was) Kwame where he was from and what he represents. And I was very excited because I was like: ‘This is a character that is not really spoken about or has been documented too much in the Roman Empire.’

“And when I did the research on North Africans and the influence they had in the Roman Empire, I was like: ‘Oh, I definitely want to be part of this for sure.’”

Johannesson, in turn, plays an imposing Norse gladiator who befriends Kwame in arena training. His main draw to the show was the grittiness of daily gladiator life. “I thought it was really beautiful to see how the gladiators, who were essentially prisoners made to fight till their death, fought for their lives daily, the way they found humanity and friendship, I thought that was really, really beautiful. That really stood out to me,” said Johannesson.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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The show also marks the television directorial debut of blockbuster director Roland Emmerich (“Moonfall”, “The Day After Tomorrow,” “Independence Day”).

Said Johannesson: “Roland is a whirlwind to work with. He sweeps you along. He’s very intense, which is enjoyable. You sort of step on set and you just jump on the Roland Emmerich train. It’s an express train.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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Added Hashim: “It was also fun getting to know him on a personal level. We practically did a tour of every restaurant in Rome, we had all types of pasta and, you know, during those dinners, you kind of get to see who Roland really is.

“A man at that point of his career still making time to listen to my stupid questions about ‘Independence Day’ and him being so happy to tell me about all the stories and willing to answer my questions.”


Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’

Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’
Updated 22 July 2024
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Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’

Lebanese actress Cynthia Khalifeh carves out a path in Hollywood with ‘Borderline’

LOS ANGELES: Lebanese actress Cynthia Khalifeh is teaming up with Lucien Laviscount from “Emily in Paris” and Laura Marano of “The Royal Treatment” for the horror-thriller “Borderline.”

The former TV presenter is also eyeing future projects as she aims to achieve her Hollywood dream.

“I’m one step forward on the path to achieving my big dream since I was young, which is to act in international films. So, baby steps and I really feel like I am a bit closer,” Khalifeh told Arab News in an interview.

“It was a lot of risks that I had to take, a lot of just jumping on adventures where I didn’t have anything that was guaranteed.”

“Borderline”, a film shot in a specially constructed studio in Malta, highlights the darkest fears associated with dating apps.

“It talks about online dating and how sometimes you might go to meet someone you don’t know, and there’s a certain danger,” Khalifeh said.

The actress said the show is called “Borderline’ because, “they meet in a place located at the border between two countries, so there is no law applied from this country or the other, so anything can happen in this place.”

“The girl or I find myself stuck over there in one night, contained, in one place, trying to run away from this person but I face him at the end. I learnt a lot of fights,” she added.

About her co-star Laviscount, she said: “Lucien plays a completely different role than that of the handsome sweet guy that all girls fell for in ‘Emily in Paris.’ Here, you will not like him at all.”

Khalifeh’s contributions to the screenplay led to her role as co-writer of the film. Choosing horror to launch her global career, she hopes to dominate this year’s Halloween season.

“I started throwing ideas and then they told me, ‘You know what? Do you want to join in?’ It happened and I joined the writing team,” she said.


Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown

Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown
Updated 20 July 2024
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Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown

Review: ‘My Spy: The Eternal City’ is a Bautista-led letdown

LONDON: Thanks in no small part to the COVID-19 pandemic, we never really got to find out what audiences made of 2020’s “My Spy,” in which CIA operative JJ (Dave Bautista) is forced to team up with precocious 9-year-old Sophie (Chloe Coleman) to take down an international arms cartel.

The movie’s cinematic release, and subsequent box office receipts, were curtailed by global lockdowns as the film went straight to streaming, and found an audience suddenly a lot more tolerant of decidedly average content.

Anna Faris as Nancy and Dave Bautista as JJ in ‘My Spy: The Eternal City.’ (Supplied)

You wonder if, had audiences been able to vote with their feet first time around, “My Spy: The Eternal City” might never have seen the light of day. For while this is ostensibly a comedy-action romp co-starring a teenager, it is also a weirdly violent, oddly graphic spy caper that does not seem too sure of what it is trying to be.

JJ and Chloe now live in suburban almost-harmony. He has taken a desk job so he can be at home more, while she rebels against his overbearing presence and constant demands she keeps up her spy training. When JJ offers to chaperone a school trip to Italy, he must balance being a cool stepdad with a rapidly unfolding plot to blow up the Vatican in which the pair become embroiled.

Returning for the sequel are Ken Jeong as JJ’s boss, and Kristen Schaal as his nerdy analyst Bobbi. But if you are hoping that continuity of casting means a coherent follow up to the 2020 original, you are in for a disappointment.

Chloe Coleman as Sophie and Dave Bautista as JJ on the set ‘My Spy: The Eternal City.’ (Supplied)

Director Pete Segal (also returning) starts off with the same familiar, comedic beats (and leans heavily on this franchise’s spiritual predecessors “Kindergarten Cop” and “The Pacifier”) but makes the baffling choice to turn up the violence.

The sequence with some attack budgerigars is a particular lowlight, and the bottom-drawer comedy with jokes about bodily functions and a fight involving a naked statue.

It is all a bit of a mess, which is a shame, because Bautista (so good with deadpan comedy in the Marvel movies) and Coleman manage to recreate some of the same chemistry that was one of the few good things about the original.

That film was not great, sure, but compared to this, it seems like a fondly remembered masterpiece.


Apple TV’s robot-themed comedy thriller ‘Sunny’ is a surprising triumph

Apple TV’s robot-themed comedy thriller ‘Sunny’ is a surprising triumph
Updated 19 July 2024
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Apple TV’s robot-themed comedy thriller ‘Sunny’ is a surprising triumph

Apple TV’s robot-themed comedy thriller ‘Sunny’ is a surprising triumph
  • Familiar genre tropes are combined to make a uniquely gripping show

DUBAI: The odd-couple premise of Apple TV’s “Sunny” isn’t particularly promising — in near-future Japan a grieving widow, Suzie Sakamoto (Rashida Jones) teams up with the titular robot to try and solve the mysterious disappearance (and, apparently, death) of her husband and son in a plane crash. So far, so meh.

But “Sunny” is actually a delight. In the three episodes available at the time of writing, it mixes gory violence, humor — both dark and silly, a quirky aesthetic, meditative takes on loss, and explorations of how technology plays on our fears and desires. Jones is excellent as the expat American who come to Japan seeking solitude and instead found love with the kind-hearted Masa (Hidetoshi Nishijima), with whom she has a son, Zen.

After their disappearance, Suzie is gifted a “homebot,” Sunny, by her husband’s employers, a tech firm for whom Masa was a refrigeration engineer. At least that’s what he told Suzie. But then she’s told that Masa programmed Sunny especially for her — her first clue that perhaps Masa hasn’t been entirely honest with her.

Suzie is not a fan of technology, so her first instinct is to reject Sunny’s overbearingly cute attempts to bond with her, just as she tries to ignore her mother-in-law Noriko’s cutting tongue and clear disdain for the American her son chose to marry.

But as Suzie uncovers more details about her husband’s work life (at a company party, one of Masa’s minions talks of him fearfully), and his disappearance, she begins to realize that Sunny may hold the key to uncovering a sinister conspiracy.

Suzie is aided in her quest by a cocktail-bar waitress, Mixxy (singer-songwriter and social-media star Annie the Clumsy), who provides another awkward corner to the Suzie-Sunny relationship, as well as a window for Suzie into the underground world of bot-hacking. But while Suzie carries out her own investigations, she too is being stalked and observed by a shadowy criminal gang led by the sinister and scary Hime, who, it seems, also knew Masa.

“Sunny” is a gripping slow-burn, confidently paced by showrunner Katie Robbins and beautifully acted by its mostly Japanese cast. Despite the show’s many strands, Robbins’ deft touch means it avoids drifting into confusion, instead holding the audience’s attention as it leads you into a story that uses familiar elements from multiple genres to create something unique.