- Network: Disney+
- Series Premiere Date: Dec 11, 2024
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Critic Reviews
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A clever and compassionate look at another corner of its protagonist’s mind—as well as a playful critique of the filmmaking process.
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Grown-ups will likely enjoy the series more than kids, but all ages should enjoy it a lot. This being Pixar, the visuals are terrific, of course, and terrific fun. But viewers could close their eyes and still have a fine time: Nami Melamud’s score is that varied and exuberant.
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If any corporate therapy is afoot, it isn’t immediately obvious in the finished product, which has the easy confidence of a relatively low-stakes experiment that immediately starts hitting bullseyes.
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As ever with Pixar, it works on multiple levels. Your kids may not get all the in-jokes, but they will love the pace, comedy, emotion and characters. Adults, meanwhile, will be reminded that Tinseltown is rarely more entertaining and savage than when it is examining its navel.
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A gloriously fun little addendum, Dream Productions makes a strong case that Inside Out is now Pixar’s best franchise.
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Above all, it is a generous, exuberant thing that feels born of a desire to give us all a treat – a gift rather than a franchise being milked dry.
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Dream Productions continues to effectively expand the Inside Out universe, which seems to know no bounds, given the fact that a preteen’s brain is so darn complicated.
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On the whole, Dream Productions is a fun idea that gets a bit derailed by its Hollywood setting and mockumentary format.
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The big surprise with "Dream Productions" is that it would be better if it had fewer ties to "Inside Out." The voice cast behind Riley's core emotions, led by Amy Poehler as Joy, returns to their roles here, but are utilized solely to provide a running commentary on the dream broadcasts, like a G-rated "Beavis and Butt-Head."
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Dream Productions doesn’t quite have the heart or the humor of the movies, but it’s a perfectly pleasant dream regardless.
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“Inside Out 2” may have put Pixar back on top for now, but “Dream Productions” is two steps backward; not a nightmare, but not a memorable reverie either.
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It isn’t bad, just bland, forgettable and oddly lacking in the psychological insight that made the first movie so great and helped the second movie eventually succeed on a sentimental level.
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The results are middling, which would be unsurprising for any other company—but I’m always a little shocked when Pixar doesn’t knock it out of the park.
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Characters aren’t distinguished enough to make you care about their haphazard arcs half as much as the recurring cameos you get from Joy, Anger, Fear, Disgust, and Sadness (all with the “Inside Out 2” voice team). Episodes don’t feel like episodes, so much as chunks of one long blob-like thing meant to congeal around the edges of each movie.