For anyone who has seen this, it should come as no surprise that I wept like an Italian widow during the third act. It’s a profound metaphor interpreted beautifully by the Pixar studios. It’s not so much that we’re seeing anthropomorphized emotions. That’s been done before. It’s the realization that all of the human emotions deserve equal play. Riley is an eleven-year-old forced to move cities. Not really an Earth-shattering tragedy, but it is to her. Watching the emotional hierarchy in her mind is fascinating. At times there’s some chasing and hijinks in the middle that seems unnecessary. But by the final third, when the leader of the emotional core, Joy, excellently voiced by Amy Poehler, realizes that she can’t always be in charge, it’s an epiphany; a life lesson. Because she’s only eleven, Riley hasn’t yet learned that the instant she voices her sadness, she’ll feel better. To make a movie for general audiences (this is PG, which is weird) that aspires to have this much emotional resonance, Pixar not only deserves a best picture nomination, but they also probably deserve the Nobel Peace Prize.
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