Inside Out 2: the best that can be said about Kelsey Mann’s sequel to the fabulous 2015 film is that it follows and expands on the themes and elements as the original; the worst is that the original was such a well-rounded package that such expansions can’t help but feel tacked in. The result is a rather entertaining, supremely well-crafted film, but a tad superfluous. Case in point: the five original emotions were always well-used, but the five (yes, five) new ones feel secondary, and generally not used well. Nevertheless, the film visualization of some brain processes is interesting, insightful even.

Voice work is quite good. Amy Poehler and Phyllis Smith repeat the fine work from the first film, the first with ample energy, the second with proper weight in her voice. Lewis Black, also reprising his role, is likewise good. Maya Hawke, as the misguided but well-intentioned antagonist, is excellent, while Adèle Exarchopoulos plays the lack of interest of her character well.

Visually, the film is the expected spectacle: character design is excellent, already providing ample insight from the drawing itself. The two worlds are richly detailed, colourful, and imaginatively lit (the work of production designer Jason Deamer). Editor Maurissa Horwitz gives the film a snappy place, balancing the parallel narratives efficiently.

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