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Movie Review: 'Inside Out 2' is an emotional whirlwind

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Movie Review: 'Inside Out 2' is an emotional whirlwind

Becoming a teenager can sometimes feel like a wrecking ball flung directly through your brain. That’s what happens to Riley’s “headquarters” in “Inside Out 2.”

Continuing the story of the critically acclaimed 2015 film, “Inside Out,” which followed 11-year-old Riley’s personified emotions through the difficulties brought on by her family’s move from Minnesota to San Francisco, “Inside Out 2” sees Riley two years older and once again facing massive changes.

After a demonstration of the well-oiled machine Riley’s emotions have become using the lessons learned in the first movie — a particularly successful game of hockey — Joy takes us through the current state of Riley’s life: her new friends, her forming system of beliefs and her newfound sense of self. Things are looking up for Riley and her crew when a flashing, screaming siren shakes them out of their comfortable routine — puberty has arrived.

Here’s where the wrecking ball comes in. Riley’s brain gets restructured to make room for a gaggle of new emotions: Ennui, Embarrassment, Envy and their overzealous leader Anxiety.

On the outside of her head, Riley is headed to a three-day hockey camp with her best friends that could define the next four years of her social life. On the inside, the new emotions are butting heads with the old as Anxiety becomes convinced she knows what’s best for Riley, and Joy is getting in the way.

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I will be completely honest with you, dear reader. I hate sequels.

Unless a movie is adapting some longer piece of media that requires a few installments, I believe any movie that can stand on its own should stay that way, and if it can’t there’s certainly no reason to produce more of them. But the short list of exceptions to this rule has just gained another entry, and its name is “Inside Out 2.”

The idea that going through puberty would trigger the emergence of “new” emotions tripped me up initially and, honestly, I still think it’s a bit of a gimmick — does anyone really believe a 6-year-old never feels embarrassment or envy? But setting that aside, Riley’s difficulties with self-worth and friendship and their corresponding inward disasters rang true to the horrors of the early teenage years.

Part of what made the first movie so effective was its basis in actual psychology — filmmakers consulted with psychologists to accurately reflect the inner workings of an 11-year-old’s mind — and it turns out our brains have more stories to tell.

Set pieces like the back of the mind and the literally growing sense of self provide fresh visualizations of familiar experiences. As Joy, Sadness, Anxiety and the rest of the crew frantically scurried through Riley’s mind I found myself thinking, “Oh yeah, that is what that feels like!”

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Along with making these experiences a little more comprehensible, “Inside Out 2” also sends a pretty comforting message: Whether anxiety is right has no bearing on whether it’s helpful.

Riley is being judged by the other girls, they do think her taste in music is childish and her hockey coach isn’t happy with her performance. But like Joy reminds Anxiety at the end of the movie, Riley can only control so much, and that’s completely OK.

Growing up involves a lot of reassessing priorities. Deciding which of your gut feelings to pursue is awkward, messy and sometimes disastrous, but life goes on and, generally, things work out.

In one scene, Riley overhears some of the older girls talking about her behind her back, one of them criticizing her lack of self awareness as she insists she wasn’t that bad at her age. It’s a devastating moment for Riley, but anyone who’s made it past that phase of denial can say with confidence, “Trust me, you were.”

Other stories by Caroline

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Caroline Julstrom, intern, may be reached at 218-855-5851 or cjulstrom@brainerddispatch.com.

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Caroline Julstrom finished her second year at the University of Minnesota in May 2024, and started working as a summer intern for the Brainerd Dispatch in June.

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‘Frankie Freako’ Is a Fun Ode to ’90s Puppet Mayhem Movies [Fantasia Review]

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‘Frankie Freako’ Is a Fun Ode to ’90s Puppet Mayhem Movies [Fantasia Review]

Seeing isn’t always believing in The Chapel, the latest film from Piggy writer/director Carlota Pereda. Written by Pereda, as well as Albert Bertran Bas and Carmelo Viera, The Chapel is a supernatural drama about intergenerational trauma between mothers and their daughters.

The film opens in 1631 in a small Spanish town that is besieged by the Black Plague. Men in plague masks gather up sick individuals to lock them in the titular chapel to preserve the health of the community and, as the crowd watches, a young, infected Uxoa (Alba Hernández) is separated from her mother, who refuses to help.

The moment of familial discomfort is upended, however, when a member of the crowd raises a smartphone to shoot video of the event, shattering the authenticity of the moment. It turns out what we’re seeing is a historical reenactment: these are actors who are playing a part in an annual five day festival. Once a year the haunted church is opened up and the town becomes a debauchery-laden tourist destination.

A similar instance of visual questioning occurs only a few moments later when characters walk through town and arrive at a painted facade two-stories tall that mimics the real street behind it.

Because these moments are so close together – and occur so early in the film – it is clear that it’s a larger part of Pereda, Bas and Viera’s subtle agenda. The Chapel is clearly interested in exploring notions of life after death, spiritualism, and belief, but the screenwriters also seemingly want the audience to evaluate what we’re seeing and what constitutes truth.

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The heroine of the film is young eight year old Emma (Maia Zaitegi), an aspiring medium who is bullied at school because it’s a well known fact that her mother (Loreto Mauleón) is dying of cancer. Although the woman is effectively in hospice, Emma can’t bear to be separated from her mother, so instead of being sent away to relatives or into foster care, Emma is regularly babysat by well-intentioned neighbors, Edurne (Elena Irureta) and Asier (Jon Olivares).

The kindly adults are no match for Emma’s strong will and her tendency to sneak out, however, so her de facto surrogate parent becomes police officer Jon Elorza (Josean Bengoetxea). He’s the one who typically finds Emma in the middle of the night, unaccompanied, and performing spells to try and speak with the spirit of Uxoa, who haunts the chapel.

The plot kicks in when Ivana Peralta (Nagore Aranburu), the old “witch” Emma was studying under, dies of natural causes on the eve of the festival. Concerned that if her mother dies during the five days, her spirit will be imprisoned inside the religious site, Emma befriends the witch’s daughter, Carol (Belén Rueda) who arrives in town to settle the estate and manage the funeral.

Rueda is eminently watchable as the scowling disbeliever with a tortured backstory. Carol makes a living as a fraudster mystic, she actively tells Emma she hates children, and she stalks through town in her mother’s fur coat like a fury. She also wears her history, quite literally, on her face: the entire left side is badly burned, a detail The Chapel mines for a narrative reveal in the last act.

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The skeptical adult/precocious child partnership isn’t new, but it works exceptionally well here because both actors are great. Zaitegi is especially revelatory: the rare child actor who negotiates the fine line between cloying, annoying, and dangerously mature for their age. It’s the centerpiece performance of the film and it only works because Emma is inherently worth rooting for, even when she repeatedly sneaks out after dark, engages in risky spiritualist activities, and actively courts the attention of violent ghosts.

Alas the film loses its way roughly halfway through. While The Chapel makes a clear throughline between Uxoa, Carol, and Emma’s “abandonment” by their respective mothers, when it comes time to confront the literal ghosts of their past, there’s nothing else to explore. The climax is particularly muddled, as the aforementioned “question what you see” element comes roaring back in a poorly shot sequence featuring a fiery pyre. 

It’s even more disappointing considering the spectacle that Pereda creates only moments before: a mountain of mutilated plague bodies piled on top of each other. This is easily the most haunting visual in the entire film, but it stands out in stark contrast to earlier unconvincing CGI on the Plague Mask ghost that regularly attacks Emma.

Alas, it is the horror elements where The Chapel falls down. There’s more mood and tension in a scene when Carol stumbles drunk through the town in the middle of night than most of the overly familiar monster attack sequences. 

The film works best when it is investigating the nature of female relationships between Emma, her mother, and Carol or when it explores Emma’s inability to process her mother’s impending death (fans of J.A. Bayona’s A Monster Calls will find this to be a suitable companion piece). 

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As a female-centric drama with genre-adjacent tones, this is a strong calling card for Pereda’s talent. As a horror film, though? The Chapel is muddled.

3 skulls out of 5

The Chapel made its North American debut at the Fantasia International Film Festival.

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DEADPOOL & WOLVERINE Review

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DEADPOOL & WOLVERINE Review
(PaPa, C, B, H, LLL, VVV, SS, N, A, DD, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong pagan, slightly mixed, irreverent, often lawless worldview, but the movie’s premise has a solid redemptive, moral aspect to it where the main character wants to make a difference, save his friends, be a hero, and defeat two power-mad villains, and sacrifice ultimately solves the movie’s plot problem, and this is overtly referred to in the dialogue, plus the movie takes place in a humanist multiverse, though the movie appears to acknowledge the monotheistic idea that there are ultimate values that transcend the individual multiverses (thus, for example, Deadpool truly does want to be the kind of hero that his girlfriend wants him to be);

Foul Language:

At least 139 obscenities (including many “f” and “s” words), one possible Jesus profanity, seven GD profanities, and 13 light profanities;

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Violence:

Lots of extreme and even bloody and well as strong violence includes Wolverine gets really mad at Deadpool two or three times, and they fight and try to kill each other even though the bodies of both men have regenerative power, lots of stabbing from Wolverine’s claws and Deadpool’s swords against each other and against bad guys, Deadpool decimates a bunch of Time Variance Authority soldiers with bones from a skeleton that have been infused with unbreakable adamantine steel, some explosions, a villain is able to infiltrate and control the minds of other people (this is depicted as if one of the villain’s hands is poking through the person’s head – there’s no blood, the action seems to be more metaphorical or taking place on a non-physical plane), explosions, gunfights, people are shot multiple times (for example, both Deadpool and another character shoot Wolverine multiple times in two plot twists), and-to-hand combat, villain with telekinetic powers kills one character by ripping his skin away, and people go flying during the movie’s many fight scenes;

Sex:

No sex scenes but the dialogue has a smattering of crude sex jokes, including a joke about a Boy Scout leader exposing himself;

Nudity:

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Brief upper male nudity;

Alcohol Use:

Some alcohol use;

Smoking and/or Drug Use and Abuse:

No smoking, but an older side character enjoys cocaine, and there are jokes about her cocaine use, though it’s never depicted; and,

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Miscellaneous Immorality:

Deadpool lies to Wolverine about an important matter, but Wolverine eventually forgives him and accepts Deadpool’s perspective on why his lie wasn’t really a lie.

In DEADPOOL & WOLVERINE, Deadpool wants to make a positive difference in the universe to regain the love of Vanessa and teams up with a reluctant Wolverine to stop a power-mad bureaucrat from the Time Variance Authority who’s trying to destroy Deadpool’s universe. DEADPOOL & WOLVERINE takes the crude language and extreme violence in the first two Deadpool movies to new depths of degradation, which ultimately overwhelms the movie’s redemptive heroic premise and dilutes the movie’s enjoyment level.

In the story, Wade Wilson aka wants to regain the love of his girlfriend, Vanessa, to become a true hero. However, The Avengers turn him down, so he stops using his Deadpool identity altogether and just enjoys being with his friends, including Vanessa. He still wants to get back with her though, but she nixes the idea.

Two years later or so, a power-mad bureaucrat from the Time Variance Authority (TVA), calling himself Mr. Paradox, picks up Wade. Paradox thinks Wade has matured enough to be a hero. He wants Wade’s help for a special assignment. Wade is gung ho and gets Paradox to build him a new Deadpool suit. However, he rebels against Paradox when he discovers that Paradox is trying to destroy Wade’s universe, including Vanessa and his friends. Apparently, the death of Logan, aka Wolverine of the X-Men, in Wade’s universe has set off a chain of events that will lead to the universe’s destruction sometime in the future anyway. So, Paradox decides why wait for all that pain and misery to develop? Why not just destroy Wade’s universe now?

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A fight occurs Paradox’s offices. Wearing his Deadpool suit, Wade manages to escape in one of the TVA’s multiverse time travel portals. Deadpool travels back to Wolverine’s burial place to revive him. Things don’t go according to plan, and Deadpool finds a seemingly insurmountable obstacle. He eventually figures a way around it, but only to find another obstacle. Wolverine is not interested in stopping Mr. Paradox, and certainly not to work with Deadpool, whom he loathes.

Even when Wolverine finally reluctantly agrees to help, he and Deadpool encounter the biggest obstacle of all, a new, even more powerful villain. This villain wants to destroy the whole multiverse except for one area.

Can Deadpool and Wolverine stop this new villain and Mr. Paradox too? Can Deadpool save his own universe? Will Deadpool stop his incessant talking?

Except for some exposition, the jokes and action in DEADPOOL & WOLVERINE don’t stop. The movie also has some surprising, funny cameos. However, the movie takes the crude language and extreme violence in the first two Deadpool movies to new levels, or depths.

For example, Wolverine gets really mad at Deadpool at least twice. They fight and try to kill each other, with Wolverine stabbing Deadpool repeatedly with his claws, and Deadpool stabbing Wolverine repeatedly with his samurai swords. As fans of the two characters know, the bodies of both men have regenerative powers, so these scenes seem to go on forever with no resolution. In another long scene, Deadpool slices and dices multiple TVA policemen. Also, in a third long scene, Deadpool and Wolverine wade through a horde of assailants together. The brutality of the violence is clearly too extreme.

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The number of obscenities in DEADPOOL & WOLVERINE has also sunk to new “heights,” going well over 100 to about 140 or more. There’s also some strong lewd dialogue, including a joke about a Boy Scout leader exposing himself. Unlike the first DEADPOOL movie, however, this third movie has no explicit sex scenes or nudity.

Ultimately, the brutality of the violence and the amount of obscene language in DEADPOOL & WOLVERINE dilutes the enjoyment of the story. It also overwhelms the movie’s redemptive ending. Shock for shock’s sake is a flawed concept that ultimately turns off more people than it attracts.

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Film Review: Brush of the God (2024) by Keizo Murase

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Film Review: Brush of the God (2024) by Keizo Murase

A tribute to a late special effects modeler leads to fiction and reality intertwining.

Following a prolonged absence, tokusatsu veteran Keizo Murase returned to film as a sculptor for Daisuke Sato’s wonderful short film “Howl from Beyond the Fog.” Recently, he’s made his directorial debut with the independent feature “Brush of the God.” Originally conceived as a story written by the director, it has now been adapted, with a screenplay by Takeshi Nakazawa, and Sato producing and directing the special effects. With a small budget, the project would receive additional funding through donations on Motion Gallery and Kickstarter. The final product is a movie with a promising setup but underwhelming payoff.

Renowned special effects model artist Kenzo Tokimiya passes away, and a memorial service is held for him to honor his legacy. His work is on display, and his daughter is organizing the event. One of the attendees is Kenzo’s grandaughter, Akari Tokimiya, who feels torn about the event because she doesn’t have the fondest memories of her late grandfather. While there, she runs into her classmate, Takuya Kido, a big tokusatsu fan, and they discuss the artist’s legacy and what will become of his work. Then, they meet a man named Hozumi, a proclaimed acquaintance of the old master, who shows the two teens an outline for a film Tokimiya had planned but never got around to making called “Brush of the God.” He then pulls out a brush and requests that they find it and save the world from vanishing. The duo is then transferred into a fantasy world that turns out to be the fictional reality of the unfinished movie, with the script being their only major resource available. They come across numerous creatures, including a friendly winged bunny creature called Mugumugurus, yet realize that the stakes are high when they encounter the legendary monster Yamata no Orochi, an eight-headed serpent capable of devastating catastrophe.

The premise for “Brush of the God” is very promising and, on the surface, endearing. It is a passionate tribute to the special effects art form of tokusatsu while channeling the filmmaking mode of meta-cinema. There is prominent self-insertion, with Kenzo Tokimiya meant to represent Keizo Murase and reflect on his career. The work of the deceased artist within the movie humorously references Murase’s real-life contributions to the medium, including films like “Matango,” the “Daimajin” sequels, and “The Mighty Peking Man,” yet the fictional movies showcased still feel like they could exist. There’s even referencing real independent productions, prominently “Howl From Beyond the Fog.” Additionally, there are themes of family reconciliation, with Akari reflecting on who her grandfather was as a person beyond his craftsmanship, material that can make for compelling drama.

There’s undoubtedly passion behind this feature, yet “Brush of the God” fails to deliver a compelling story, largely due to lackluster direction and writing, further dampened by awkward staging. The plot is incredibly rushed with how it progresses, reliant on continuous convenient contrivances that stretch subversion. It never feels like things happen naturally, which becomes a glaring detriment when the film attempts to insert drama, primarily with Akari reflecting on her relationship with her grandfather. All the characters are forgettable, with the only attempts at development being with Akari Tokimiya, but even she feels underdeveloped, and the intended resolutions to her conflicts don’t feel earned by the end, due to the lackluster screenplay. These narrative faults are not helped by almost all the dialogue being blatant exposition, frequently spelling things out for the audience, which becomes irritating.

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In addition to dull characters, the acting is generally poor here. Rio Suzuki and Takeru Narahara are distractingly subpar in their roles as Akari Tokimiya and Takuya Kido, with some especially clunky line delivery and emotional conveying. While intended to be mysterious, Takumi Saitoh looks more lost than engaged in playing Hozumi. There’s also a handful of cameos from recognizable faces in tokusatsu media, like Yumiko Shaku, Shinji Higuchi, and Shiro Sano, yet they are sadly just as wooden as the film’s leads, which can also apply to the rest of the cast here.

Another frustrating aspect of “Brush of the God” is the inconsistent production values, particularly the special effects. While this movie aims to stay true to classic tokusatsu techniques, the quality is all over the place. Granted, even with crowdfunding from Motion Gallery and Kickstarter, finances are more limited here than in a big studio production, and it’s admirable how determined Sato and the team remained. Yet, for every great visual effects moment, such as Orochi’s rampage on a city, there are numerous bad ones, with some very shoddy digital effects and green screen work. This issue also applies to the cinematography by Yoshihito Takahashi and Yoichi Sunahara, sometimes looking good while other times not so much. However, the music score by Shota Kowashi adds a nice mystical flare to the movie, and the ending theme song, “Kaiju,” performed by the pop band Dreams Come True, is an endearing tune.

Keizo Murase’s “Brush of the God” is a disappointing film, especially considering the talent the filmmakers have. There are elements to admire, yet a lot to criticize. Its heart is in the right place as an intended loving tribute to the special effects art form of tokusatsu, yet its narrative execution fumbles. For every visually stunning moment, numerous sections look incredibly poor. Keizo Murase and Daisuke Sato don’t quite capture the immersive magic here that they did with their previous and vastly superior creative collaboration, “Howl from Beyond the Fog.”

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