They're in her phone!") Riley's mental terrain has the jumbled, brightly colored, vacu-formed design of mass market toys or board games, with touches that suggest illustrated books, fantasy films (including Pixar's) and theme parks aimed at vacationing families (there are "islands" floating in mental space, dedicated to subjects that Riley thinks about a lot, like hockey). ("Phone numbers?" grouses a worker in Riley's memory bank. The heroine's memories are represented by softball-sized spheres that are color-coded by dominant emotion (joy, sadness, fear and so forth), shipped from one mental location to another through a sort of vacuum tube-type system, then classified and stored as short-term memories or long-term memories, or tossed into an "abyss" that serves the same function here as the trash bin on a computer. The controller hears what the other emotions are saying, and Sometimes Joy is the dominantĮmotion, sometimes Fear, sometimes Sadness, etc., but never to theĮxclusion of the others. There's a master control room with a board that the five major emotions ( Lewis Black), a flat-topped fireplug with devilish red skin and a middle-manager's nondescript slacks, fat tie and short-sleeved shirt. Who's a rich green, and has a bit of a " Mean Girls" vibe and Anger Smith), who's soft and blue and recessive Fear ( Bill Hader), a scrawny, purple,īug-eyed character with question-mark posture Disgust ( Mindy Kaling), Looks a little bit like Tinkerbell without the wings Sadness (Phyllis "cartoonish" characters: Joy ( Amy Poehler), a slender sprite-type who Riley's emotions are determined by the interplay of five overtly Move them from Minnesota to San Francisco, separating her from her friends. Riley ( Kaitlyn Dias), who's depressed about her mom and dad's decision to The bulk of the film is set inside the brain of young
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