Displaying items by tag: Paul Walter Hauser

SPRINGSTEEN: DELIVER ME FROM NOWHERE

US, 2025, 120 minutes, Colour.

Jeremy Alan White, Jeremy Strong, Stephen Graham, Odessa Young, Gaby Hoffman, David Krumholz, Paul Walter Hauser, Harrison Sloan Gilbertson, Grace Gummer, Mark Maron, Matthew Anthony Pellicano Jr.

Directed by Scott Cooper.

Bruce Springsteen is a significant figure in American and world music, 20^th century, 21^st-century. This is a portrait of Springsteen in 1981-1982 rather than a biography, rather than an exuberant immersion in his music. That is the tone of the title, Deliver Me from Nowhere. And, in one sequence where a car salesman says to Springsteen, “I know who you are”, Springsteen replies “at least that’s one of us”.

Some background on Springsteen himself for those unfamiliar or less familiar with his life and career, courtesy of Wikipedia:

Springsteen has released 21 studio albums spanning six decades; most of his albums feature the E Street Band, his backing band since 1972. Springsteen is a pioneer of heartland rock, combining commercially successful rock with poetic, socially conscious lyrics that reflect working class American life.

And there is some Catholic background:

Springsteen attended the St. Rose of Lima Catholic School in Freehold, where he was at odds with the nuns and rebelled against the strictures imposed upon him, though some of his later music reflected a Catholic ethos and included Irish Catholic hymns with a rock music twist. In 2012, Springsteen said that it was his Catholic upbringing rather than his political ideology that most influenced his music. He said his faith gave him a "very active spiritual life" but joked that this "made it very difficult sexually" and added "once a Catholic, always a Catholic… I don't participate in my religion but I know somewhere... deep inside... I'm still on the team.”

This is very serious portrait and becomes more serious as it continues. There are black and white flashbacks to Springsteen’s childhood, a protective mother, a seriously alcoholic father, sometimes violent, demanding his son to be a man. Gaby Hoffman plays the mother and British actor, Stephen Graham (significant this year for his contribution to the series, Adolescence) is his father. But, Springsteen has the opportunity for some reconciliation with his father.

In 1981-1982, Springsteen worked in his bedroom, moved by watching the film, Badlands (1978) with Martin Sheen. It led to his reflections and a series of songs, just acoustic guitar, with very serious themes, Nebraska. And, at the same time, he composed what became something of an anthem, Born in the USA. (He is shown watching, several times, Robert Mitchum in the 1955 The Night of the Hunter, taken by his father to see it, the scenes of menace on the little boy.)

Springsteen is played effectively by Jeremy Alan White, award winner for his television series The Bear. Some have remarked that he does not look like Springsteen but, in his performance, he is able to communicate much of what drives the loner as well as the hyper-vigorous concert performances.

Supported strongly by his manager, Jon Landau, another fine performance from Jeremy Strong (Succession and frightening as Roy Cohn in The Apprentice), and by sympathetic waitress, Faye, Odessa Young, all kinds of opportunities offered to him by record companies and fans, Springsteen is often a recluse, feeling haunted many times, and an eventual acknowledgement of depression.

Which means that this film is a piece of Americana, on 20^th century popular culture, an opportunity to appreciate Springsteen’s imagination and creativity, some insights into his perceptions of the US, the performance of some songs and songs in process, the American response (despite recent public condemnations of Springsteen by President Trump) rather than a concert musical.

1. The title, the focus on Springsteen as a loner, depression? The experience of his loan composition of the album, Nebraska?
2. Audience response to Springsteen, six decades of music, performance, public figure? Reputation, honest, medal from President Biden, criticism from President Trump?
3. The film not as a concert experience although songs and performance included? The film is a portrait, flashbacks to childhood, 1981-1982, tours, composition, Nebraska, Born in the USA? Collaboration with Jon Landau? Record companies and agents, the recordings and the complications?
4. Bruce Springsteen as a singer, performer, poet, creator, lyricist? And the performance by Jeremy Alan White?
5. A picture of Bruce Springsteen, the New Jersey background, home life, his protective mother, going to the bar to ask his father to come home, the violence towards his mother, a to spy with his father, his father hitting him, the drinking, taking him to see The Night of the Hunter, Bruce with the baseball bat? The placing of these memories throughout the film?
6. The opening concert, the energy, the performance, the exhaustion, the fans and interviews? His relationship with Jon Landau, over the years, friendship? Landau serious, knowing Springsteen’s genius, listening, advising, at home with his wife and testing ideas? Connections with the record companies, promotion, especially concerning Nebraska and the response of A whole Teller? The issue of Nebraska, the recording, the orchestra, Springsteen’s dissatisfaction, perfectionism? The mental health issues and Jon Landau’s support?
7. The creation of Nebraska, watching Martin Sheen in Badlands, researching the story, the issues, resentment against society, the murders, the motivations and reactions? Is visualised? Impact, the suggestion of stories, the suggestion of songs? And the significance of the many sequences with the composing of the songs, their being played? Different from his other songs?
8. At home, alone on the guitar, friendship with Mike, bringing the equipment, listening, the cassette, the limitations, the echo, Springsteen wanting this exact replication, the extent of the technicians in reproducing the sand? Then the album to be issued without name, press, promotion, tour? The scepticism of the industry?
9. The episode with born in the USA, film, Paul Schrader? The composition, possessed in the performance? The promoters wanting it out there? It is being held until after Nebraska?
10. Springsteen and his personal life, loner, awkward relationships, meeting the friend from school, Faye, the conversation, her being a fan, going to house, meeting her daughter, the outings, the play, his ability at being a father figure for the daughter? The merry-go-round is and all kinds of entertainment? The sexual relationship with Faye? Then his absence, not answering the phone, the conversations with Faye, leading up to her confronting him, and his leaving, her accusing him of always running away from himself?
11. The issue of knowing himself or not, the quote from Flannery O’Connor about going back to the past which was not there? The car salesman and Springsteen’s response? The eventual admission of depression, going out to California, the encounter with his father, age, drink, losing his job, his mother’s concern, taking his father to hospital?
12. Going to therapy, his weeping? 10 months, some recovery?
13. The concert, performance, John and his support, his mother present, his father, going to see his father, the invitation to sit on his lap, the reconciliation?
14. The final information, the success of Nebraska, Born in the USA, his later career – and the film over 40 years later?

THE NAKED GUN

US, 2025, 85 minutes, Colour.

Liam Neeson, Pamela Anderson, Danny Huston, Paul Walter Hauser, CCH Pounder, Kevin Durand, Eddie Yu..

Directed by Akiva Schaffer.

Many of us enjoyed the three Naked Gun spoofs decades ago as well as the television series, Police Squad. Here is an entertaining opportunity to revive memories as well as enjoy this present comedy.

Were audiences expecting Liam Neeson to be the new Leslie Nielson? The screenwriters were wary and came on the solution that Liam Neeson should be Frank Dreben all Jr, like his father, but not exactly like his father, paying homage to his father (as well as having his father intervene in the final confrontation in the form of an owl!!).

But the thing is that Leslie Nielson (and there is an amusing assonance with Liam Neeson almost looking/sounding like Leslie Nielson?) Leslie Nielson played everything not only straight-faced but almost granite-faced, not aware of his double takes on situations, probably not even aware that he took a first take. But, Liam Neeson is a more dramatic character, much more expressive with his face, and while he does play everything somewhat straightfaced with a touch of dumb and dumber, he is also sending up his so many tough guy performances in thrillers for the last almost 20 years.

Needless to say, the film is absurd, but that is what we want. A megalomaniac trying to control the world, a device to send humans back to their animal state, corral them, tame them and send them back to re-create the world. Danny Huston definitely fits the bill as the villain, as if in a James Bond film, except of course his willing participation in his final humiliations.

And, here is Pamela Anderson, offering a performance as she did in The Last Showgirl, able to play along with the comedy and, at moments, sending up her glamorous Baywatch image of the past. And her screeching jazz delaying tactic! Paul Walter Hauser plays the son of George Kennedy’s original performance – and there is a sly joke at the expense of O. J. Simpson.

As with the originals, a lot of the jokes are basic puns and misunderstandings but, in the context they get more of a laugh and they would in real life! E.g. “take a chair…”; Response “no, I’ve got enough at home”. And then she does take the chair!

So word humour, situation and absurdity humour, sexual innuendo (and a bit beyond) humour, and mostly coming one joke quickly after the other which means we can laugh out loud or just perhaps a continuous giggle or have, mostly, a smile on our face full-time

And, of course, if we enjoy this one, there may be a 2 ½, just like the original series.

THE FANTASTIC FOUR: FIRST STEPS

US, 2025, 115 minutes, Colour.

Pedro Pascal, Vanessa Kirby, Egon Moss-Bachrach, Joseph Quinn, Julia Garner, Natasha Lyonne, Paul Walter Hauser, Sarah Niles, Mark Gattis. Voices of Ralph Ineson, Matthew Wood.

Directed by Matt Shakman.

2025 as been a superpower blockbuster movie year, Thunderbolts*, then DC with Superman and Marvel with The Fantastic Four. The latter two performed beyond expectations at the box office in the US and around the world. Still popular!

The Fantastic Four are not as familiar to moviegoers as Superman or Batman. There were two films in 2005-7 and an attempt to revive the franchise in 2017. This film is another attempt – and with the promise that the Fantastic Four will appear in forthcoming Avenger films.

One of the features of the Fantastic Four is that they are a very friendly group, especially likeable for the audience. For anyone not familiar with them, and for those who are, there is a prologue to this film, a TV program, a kind of This is Your Life summarising with clips the personal lives and origins and all the exploits of the Four, their venture into space, their DNA being altered, then becoming superheroes, and very popular with the citizens of New York City and the world.

Reed Richards, played sympathetically by Pedro Pascal, is the scientist, mathematician, intelligent, cerebral in his approach to crises. By contrast, Vanessa Kirby is his wife Sue Storm, her discovering she is pregnant, and she and the family, and the audience, happy anticipating the forthcoming birth. Then there is her younger brother, Johnny Storm, played enthusiastically by Joseph Quinn sometimes brash, literally full of fire, eager to be an uncle. The fourth member is Ben, played by Egon Moss-Bachrach, seen as his ordinary self in the prologue but then DNA drastically altered to some thing of a monster look, but genial behind all that orange granite that forms his exterior.

Casting is interesting because two of the Four are British, Vanessa Kirby and Joseph Quinn. Pedro Pascal is from Chile.

When Earth is threatened by a strange alien, the Silver Surfer (Julia Garner), and threatened by the archetypal cosmic villain, Galacticus (voiced by British Ralph Ineson), the Four go into space to confront him.

Part of the drama is their initial failure (though with some spectacular sequences in space, and, emotionally and dramatically, the birth of the baby), the brief press conference where they tell their adoring public that there is no hope, then the determination to find a way of confronting Galacticus who has set his ambitions on taking over the new born child and its powers.

Which means that the second part of the film is the confrontation of Galacticus, the intervention of the Silver Surfer, the giant Galactic is heavily treading through New York City demolishing huge areas (as Lex Luthor did in Superman) intense demonstration of the superpowers by the Four.

And, there is nothing like a baby to elicit audience sympathy – and there is a pleasing preview during the final credits of the baby at four, with his mother, just having spent a day reading Charles Darwin’s Origin of Species.

1. The status of the Fantastic Four in the marvel comics, created by Stan Lee? The previous film versions, modest, this version as a new beginning?
2. The basis of the plot, the Marvel universe, the four characters, Reed and Sue, their backgrounds, marriage? Johnny as Sue’s brother? The work with Ben?
3. The opening, a kind of resume of the characters and their superpowers, their activities, their reputation in New York City?
4. The relationship between Reed and Sue? Background of their space mission, the experience, overwhelmed, the changes in their DNA, superpowers? The marriage, Sue, discovering she was pregnant, Reed, the scientist and mathematician, his more cerebral approach, his joy? Johnny and his enthusiasm?
5. Ben, in the television program, his normal self, the space experience, the DNA, the granite and its colour, his size? And his voice, human and humane, his interventions? The encounter with Rachel, the students and his comic behaviour with them, his later going to find Rachel?
6. The situation with Galactus, origins, age, giant, sinister, eager for power, targeting the baby? The Silver Surfer, her appearance, the surfboard, through space, arriving on earth, the warning?
7. The status of the Four, Ed Gilbert and his show, the program, the exploits, the public and acclaim?
8. The decision to go into space, travel, the space ship, the equipment, technical skills, Reed and intelligence? The confrontation with the Silver Surfer, with Galactus, their being caught, the escape, travelling back to earth, the pursuit by the Silver Surfer, her skills, evading capture, each of the Four coping, Ben and his piloting, reading the calculations, Johnny and his attempts with his fire? Their eventually arriving home?
9. Sue, pregnant during the return, her experience, everybody involved in the delivery of the baby, the happy birth? Franklin?
10. The television show, Mary and her friendship, the press conference on return, no hope, the reaction of the public, gradually turning against them?
11. Reed and his experiments with transportation, the plan to move the planet Earth to the outer reaches away from Galactus? Its failing?
12. The determination to resolve the situation, the public learning about Galactus wanting the baby, accusations of selfishness with the family not giving up the baby? The calculations, seemingly impossible? The discovery of the lever, the calculations, the appeal to the public, the television response, the collecting all the materials, the building of the bridges, the issue of electricity, the world collaborating in blacking out to give full power?
13. The plan, times square, the central landing, the ring to trap Galactus?
14. The encounter with The Silver Surfer, her coming for the baby, the dialogue with Johnny, her back story, her experience with Galactus, giving up family for the sake of the planet? Her hostility, her embarrassment and shame, her finally turning against Galactus and sacrificing herself?
15. The help of Harvey Elder, his role in the past, sinister, ruling in the subterranean area, the clashes with the Four, their appeal to him, selfish, but agreeing, taking all the refugees from New York City?
16. The arrival of Galactus, gigantic, walking through New York, crushing the buildings, the tremors for those in the underground? Capacities, voice, penetrating sight to see the baby, his being blinded, the substitute group, but his seeing where it was hidden, the continued pursuit, Ben and his interventions, Johnny willing to sacrifice himself, read in the calculations, Sue and her willpower, forcing Galactus back, almost to the Circle, the machine, the 37 seconds, his destruction?
17. The Four, acclaimed, the public, Ed Gilbert and the program, Mary and the studio, the sudden call and their going out on mission?
18. The preview for the Avengers films, four years later, the baby and reading Charles Darwin, Sue finding the baby with the sinister hooded figure?

THE INSTIGATORS

US, 2024, 101 minutes, Colour.

Matt Damon, Casey Affleck, Hong Chau, Jack Harlow, Michael Stuhlbarg, Alfred Molina, Ron Perlman, Toby Jones, Ronnie Cho, Ving Rhames, Paul Walter Hauser.

Directed by Doug Liman.

This is a robbery story with a very strong cast, intended as an enjoyable pastime. Audiences might like to ponder who the actual instigators are in this story and what they were instigating in reality!

The setup is a buddy film, but two unlikely characters forced to work together, involved in a high-stakes robbery. We are introduced to the two, Matt Damon, always a solid presence, in therapy with his psychiatrist, Hong Chau, wanting an exact amount of money to be able to reunite with his son. By contrast, there is the alcoholic ex-conman played by Casey Affleck.

The situation is an election in Boston, Ron Perlman as the Mayor, corrupt, aiming for re-election against his ethnic rival, played by Ronnie Cho. The mayor is surrounded by his yes-men, especially his lawyer, played by Toby Jones.

In the meantime, there is a range of criminals played by Michael Stuhlbarg and Alfred Molina. They have the plan for the buddies, with the young nephew, to rob the vans carrying the money before it is delivered to the mayor.

They might be instigators but, of course, everything goes wrong. The money has already been transferred, they go into the Mayor’s office, still his keepsake with the number of his safe, a shootout, and escape in the van, chases through the city…

Ving Rhames appears as a corrupt police investigator.

When they are taken, there is a siege situation and the therapist is invited into mediate – enabling her to get out with some of the money to pay off Damon’s debt in view of a happy ending, and Casey Affleck escaping to Canada. The reason that they do escape and there is a happy ending is that the new Mayor, coming into possession of the money, anonymous money from the previous corrupt Mayor, is not declared and they can keep it as long as the two are not arrested and brought to court. So, off to Canada and happy ending.

The director is Doug Lyman (Bourne Identity, Jumper, Edge of Tomorrow), skilled at some action shows – but this is more relaxed for streaming audience.

1. Title? Robberies? Who were the instigators?
2. The Boston setting, the neighbourhoods, public spaces, the streets, car chases and pursuits, the mayor’s office, meeting places planning the robberies? The election – the rooms, corridors, social areas, the strong room with the safe? The musical score?
3. The situation, introduction to Rory, therapy with the doctor, her questions, his responses, his crisis? The situation with his son? The need for money?
4. The setting up of the robbery, the mind behind the robbery, his moods, dealing with his men, with Scalvo, young and inexperienced, the connections with Richie at the bakery? The plan, the testing of Rory and Cobby, details of the plan? The corrupt Mayor, as target, corruption and money?
5. Rory and Cobby, personalities, interactions, slow, the as matter-of-fact, the precise amount needed, the bargain with the boss?
6. The setup, the vans, the election night, the television news, the alternate candidate, Rory praising him, the presumption the corrupt Mayor would win? The scenes of the Mayor, his staff, tough tactics, reliance on his attorney, Alan Flynn?
7. The comedy of the robbery gone wrong, the timing, the amount of money, the earlier van taking the money, guns and shooting, confrontations, the little money in the safe, Rory and the bag, the shooting, the deaths, Scalvo dead? Cobby wounded?
8. Going to the doctor, the pressure on her, the discussion about her being a hostage, going with them, treating the wound, the consequences? Her later being chosen as the mediator for the hostages, her bargain with Rory and getting the money out under her uniform, helping Rory with his debt – but continually asking how he was feeling, especially during the negotiations? And copy finally returning to her?
9. The mayor, his cronies, the defeat, Cobby with the money, the various positions, having the code number to the mayor’s safe, his not being able to remember, the various combinations?
10. The boss, fleeing, contact with Richie, Richie and the interviews, sending the henchmen, tracking down Rory and Cobby, their escaping him? Frank, in the pay of the mayor, the dealings with Richie, his continued pursuit of Rory and Cobby? The finale and their doing the deal with him? And the final credits seen of the boss dead in the snow?
11. The vans, the pursuits, the desperation of the chase, guns, Cobby wounded again, his complaints?
12. The confrontation with the mayor, his desperation, the arrest, in jail?
13. The return to the scene of the crime, Alan Flynn present, to do a bargain deal, opening the safe, all the money? The dilemma, the doctor as mediator? The device for escape, throwing the safes out the window, the scattering of money everywhere, the crowd racing for the money?
14. Rory, finally, deciding to give himself up? The new mayor – and the information about the contracts, the new potential corruption? The two men let out, Rory going to see his son, reconciliation?

EAT WHEATIES!/ DEAR ELIZABETH

US, 2021, 88 minutes, Colour.

Tony Hale, Alicia Cuthbert, Danielle Brooks, David Walton, Alan Tudyk, Sarah Clarke, Paul Walter Hauser, Robbie Amell, Kylie Bunbury. With thanks to Elizabeth Banks.

Directed by Scott Abramovich.

Tony Hale is very well known to television audiences, 65 episodes of Veep, 84 episodes of Arrested Development as well as many films and other television series.

This is his film.

He plays a genial middle-aged man, competent in his work, but rather simple in many of his approaches to life. It is one a sympathetic brother and an unsympathetic sister-in-law. He is awkward in relationships. And he has a sometimes peculiar sense of humour which irks some of his audience.

There is a reunion for his college group and he is asked to be on the coordinating committee. The key to the film and his response is that he was at college with actress and director, Elizabeth Banks, dating one of her sorority sisters. He makes a lot of this – writing to her agent for an autographed photo as a gift for his brother, sending it back when it is smudged, alienating her agent with his continued requests, her eventually getting a restraining order on him – which, of course, bewilders him.

He decides to overturn the restraining order, finding lawyers too expensive but finding one, played by Paul Walter Hauser, with an online qualification but less expensive. A lot of the enjoyment in the latter part of the film is the court case, the speeches, the antagonism of the agent, the attentive listening to the judge, and the lifting of the order.

Alan Tudyk plays a sympathetic friend who turns on him. There is the reunion, his being shunned.

But, there is a happy ending, the sister-in-law giving birth and becoming more sympathetic, his invitation to be godfather, and finally, a message from Elizabeth Banks who has been away and not privy to all the upsets, a sympathetic message.

And, the titles? Dear Elizabeth is obvious. But Eat Wheaties! is a quote from Elizabeth, encouragement, that she used in her early years.

1. The two titles, dear Elizabeth Banks, her saying, “Eat Wheaties!”?
2. Offices, homes, barbecues, hospitals, class reunions, the courts…? The musical score?
3. Tony Hale as Sid Straw? A good man, limited, work at the office, relationship with his brother, Tom, the jokes at the wedding and Jenny’s reaction? His long speeches and jokes? With people at the office, Bruce? Black joked with Sam? The meeting with Katelyn, the outing, the night together, her later reactions, the breakup? His acceptance?
4. The question of Elizabeth Banks, class reunion, his being the co-chair, the organisation, his memories, dating one of Elizabeth Banks’ sorority sisters? Asking the signed photograph for his brother’s birthday? The smudged copy? His continued appeals, agent, Frankie and her harsh reactions, the sympathetic assistant? Asking for the restraining order, its imposition, the effect on Sid, approaching the various lawyers, their costs, finding James Risk, with his family, qualifications, online degree, dodgy, less expensive? Sid going with him, the friendship, in the court, James and his speeches, awkward, his impassioned plea? And winning the case, going back to Bruce and the other managers, apologies and recompense, the previous insult at the bank, showing the tellers the cheques, going to a bank which is courteous?
5. The online posts, poetry, outpourings, his not realising they were going viral, his brother’s response, the agent’s response, the reaction in the office, Bruce giving notice, firing him? His attempts at other jobs?
6. Sid and his being friendly, his brother’s speech about him and their friendship, support, Jenny objecting, her later relenting, his speech before the guests arrived, Brandon and the jokes, Alison, the connection with Frankie? Alison in the court prosecuting for Frankie? And the birth of the baby, their asking him to be Godfather and laughing at jokes?
7. Wendy, at the diner, friendly, chatting, giving him the drinks, the final talk, at the hospital, the kiss?
8. The reunion, the various meetings with Dave Lambert, friendship, his son, the smells? Dave not wanting to mix with Sid? The guests awkward?
9. Sid, writing the children’s book, the recitation, the publication, success? Softball sequences, David and his son? Sid finally enjoying softball?
10. And the finale message from Elizabeth Banks, and the outreach to Sid?

INSIDE OUT 2

US, 2024, 96 minutes, Colour.

Voices of: Amy Pohler, Maya Hawke, Kensington Tallman, Liza Lapirar, Tony Hale, Lewis Black, Phyllis Smith, Ayo Edebiri, Lillimar, Grace Lu, Sumayyah Nuriddin-Green, Adele Exarchopoulos, Diane Lane, Kyle MacLachlan,  Paul Walter Hauser, June Squibb, Frank Oz, John Hertzenberg, Flea.

Directed by Kelsey Mann.

So, this is what puberty is like!

In 2015, Pixar studios won the Oscar for best animation film, Inside Out. It was very very popular, children enjoying it, parents given food for thought. The basic idea was quite creative, imagining the different feelings inside an 11-year-old girl, Riley, who had to move to San Francisco because of her father’s new job. And how to manage these feelings? The answer is in personifying them, engaging cartoon characters up there on the screen, working in the control studio which stood for Riley’s inner life. And, a very entertaining range of voices.

It has taken eight years and more for the sequel. And most audiences have found it well worth the wait.

But, how to replicate the ingenuity in the screenplay, and to engage the audience – and broaden it? The answer is that it is Riley is now 13, has reached the stage of puberty. And, of course, there are quite a number of new feelings.

Audiences will remember the leadership of Joy (again Amy Poehler), counterbalanced by Anger, reactions by Disgust, and, lurking there, Fear. And the very attractive emotion eliciting quite some pathos which sometimes takes over, Sadness. Joy is in control in the control room, and the emotions enjoy themselves in Riley’s reactions, devoted to her parents, good student, kindly in helping others in embarrassing moments, and, an interesting choice of sport for the film, talented in ice hockey. The feelings are able to relegate bad memories to a storeroom – where a huge character, called Dark Secrets, lurks. And, in the present, an old lady emotion, Nostalgia, keeps appearing but is told to go back and wait for 10 more years!

Everything is going smoothly and then the new brigade of emotions arrives, wanting to take over, different emotions for a 13-year-old and her changes in life. They are led by Anxiety, intervening all the time, various scenarios for Riley’s future, and mixing her up with instant changes of moods, answering her parents back, extremes of happiness, invited to a hockey camp by a top coach, learning that her two friends will be going to a different school, becoming very erratic in walking out on them, foot in mouth with the new friends often – not easy being a young teenager.

Along with Anxiety feelings of Ennui (Boredom personified, long-haired, languid, French accent), and, rather green, Envy. There is also the very large Embarrassment who blushes and hides as Reilly so frequently become self-conscious.

Mom and Dad are puzzled. The veteran feelings are also puzzled and decide to go on a rescue mission, rebelling against Anxiety’s takeover.

The Inside Out films show Pixar studios (remembering Toy Story) at their best, vivid, full of colour, the feelings in all shapes and sizes, and a great variety of voices – with going back to look at the voice cast to appreciate this.

As, with the previous film, there is a lot for parents to think about, to appreciate a lot of the emotional turmoil, erratic changes, moods, they might then remember from their own teenage years and understand their children better. And, there is a great deal to think about for the teenage audience who might find this wonderful personification of feelings holding up a mirror, delightful and humorous, to their own mood swings.

Looking forward to Inside Out 3, and how many more moods there will be in later adolescence!

1. Popularity and awards for Inside Out? The appeal to younger audiences, parent audiences, understanding of emotions via cartoon characters and personifications?
2. Memories of the first film, welcoming of the second film? Riley moving from 11 to 13, puberty?
3. The style of the animation, colourful, vibrant, motions, the settings, the mind control in the Sense of Self? The range of characters, colours? Shapes and sizes? Movements? Riley’s world, the realistic world, at home, at school, playing hockey? The musical score? The skills of the voice cast?
4. The premise of the headquarters for mind and emotions control, Sense of Self? Look and sound and personalities of Joy, Sadness, Fear, Anger, Disgust? Their interactions? Each of the contributions, the vitality of Joy, the reserve of Sadness, the outbursts of Anger, the hiding of Fear, the reactions of Disgust?
5. Riley, the audience knowing her in the past, liking her, turning 13, relationship with her parents, their concern and love, her playing hockey, her helping Bree with the spilt coins, Grace helping, the bonding? The sharing, playing together?
6. Everything going smoothly and control, Riley and her emotions, removal of past memories, said memories? The arrival of the new emotions? Their look and sound? The shape and colour and voice of Anxiety? The green of envy? The languid look and French accent of Ennui, boredom? And the huge shape and behaviour of Embarrassment?
7. The effect of Anxiety taking over, the plan, relegating the Sense of Self? The continued moments of embarrassment? Ennui intervening only when necessary?
8. Riley, skill at hockey, the coach, the invitation to the summer camp, hopes, the three friends, the news that the other two were going to different school? Anxiety and the others taking over, the erratic and mixed emotions, her reaction to her parents? The behaviour at the camp, the mistake and everybody being penalised, embarrassment? Her admiring Val, the other team members, playing up to them, the discussions about popular groups and her being embarrassed? The temptation to give up her friends? The confusion?
9. Behind-the-scenes, the old emotions and their strategy, going back, the old memories, the Dark Secret, Sadness and her getting the commission to investigate? Riding on the Stream of Consciousness, the different vehicles, broccoli…?
10. Anxiety, looking at the results of Riley’s confusion? The move to coordinate, to work together? The humour of the old lady of Nostalgia appearing and being told to go back and reappear 10 years later?
11. Riley, the end of the camp, with her parents, with Val and the others, reunited with her friends?
12. All the emotions content, Riley moving from childhood into adolescence? The finale at a looking at her phone, the selection of the team, her smile?