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One of the strongest endorsements I can offer of “Force Majeure” is that ?stlund is aware of that latter question the whole way through, but by the end of the film it has become irrelevant. Fredrik Wenzel’s camera most often views Tomas and Ebba from a distance, framing them against the blinding white snow, the blond wood of the hotel’s corridors, the clean, modernist lines of the ski-resort equipment and the anonymous, upscale furniture of their hotel room. But there is also just enough human sympathy, enough sense of irresistible connection, for us to understand that no matter how irritating these people may be, if we wish them ill or take pleasure in their pain that says more about us than about them.
 
One of the strongest endorsements I can offer of “Force Majeure” is that ?stlund is aware of that latter question the whole way through, but by the end of the film it has become irrelevant. Fredrik Wenzel’s camera most often views Tomas and Ebba from a distance, framing them against the blinding white snow, the blond wood of the hotel’s corridors, the clean, modernist lines of the ski-resort equipment and the anonymous, upscale furniture of their hotel room. But there is also just enough human sympathy, enough sense of irresistible connection, for us to understand that no matter how irritating these people may be, if we wish them ill or take pleasure in their pain that says more about us than about them.
 
   
 
   
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French Sailor Had No Fear in Leaping to Rescue Boat
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Mega-Storm Patricia Drenches Mexico, Raising Flooding Fears
 
   
 
   
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If “Inside Out” is unmistakably another “Velveteen Rabbit” story, and one conspicuously calculated to reduce adults to tears – as when the girl’s childhood imaginary friend is discovered, banished but not quite forgotten, deep in the twisting corridors of Long-Term Memory – it’s also a work of nifty craftsmanship and considerable complexity beneath its unassuming surface. In the film’s outermost layer, the “real world,” Riley (voiced by Kaitlyn Dias) is a tomboyish only child, a happy-go-lucky hockey player whose parents have just uprooted her from Minnesota and moved to San Francisco. We spend most of our time, however, within the capacious realm of Riley’s brain, where the perky and universally beloved emotion known as Joy (voiced by Amy Poehler) has long held sway over a team that also includes blue-hued Sadness (Phyllis Smith), twitchy, bow-tied Fear (Bill Hader), crimson, cubical Anger (Lewis Black) and verdant, ultra-feminine Disgust (Mindy Kaling).
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“Inside Out” marks another milestone (after “Brave”) in Pixar’s quiet exploration of feminism; as a co-worker observed, it takes nerve to make an entire film about a tween girl’s inner life instead of a universe of talking toys or anthropomorphized automobiles. Consciously or not, I suspect Docter is also trying to balance out the audience dynamic, and create a movie that might appeal to actual kids. During what might be called Pixar’s high-modernist period, with “Toy Story 3” and “WALL-E” and “Up,” it sometimes felt as if the grand parables about civilization were literally driving the little ones out of the theater. Children who did see those films may well have been puzzled by the dominant themes of regret and loss, sin and forgiveness, mortality (and even apocalypse) ambiguously redeemed. Was this supposed to be Saturday afternoon cinema for the whole family, or a series of illustrated extracts from the Norton Anthology of Poetry?
 
   
 
   
Responding to a Tweet quoting the former Florida governor, Clinton said:
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The gloves are off.
 
   
 
   
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