GUEST ALERT! This piece was written and contributed by Nick Curl, who had the following to say:
“Soggz wants me to plug myself but I’m not sure what to plug. I do wedding and portrait photography, so you can check me out on The Knot at https://tinyurl.com/ybe4ltg4. You can also follow me on Twitter and Instagram @nickcurl.”
Nick is an amazing person and I loved this review, be sure to check out his photography. Spoiler: He’s pretty incredible at that too!
With a film title of Incredibles, you’ve already put a fair amount of pressure on yourself to live up to that word. And not only did writer/director Brad Bird do that with his 2004 groundbreaking Pixar Animation film The Incredibles, he has seemingly done the impossible fourteen years later: create a seamless transition to a part two, a film that is just as subversive, sharp, insightful, and gorgeous as the original.
I saw The Incredibles when I was eight-years-old with my dad, and I honestly don’t know who enjoyed the movie more. It was everything I could possibly want in a movie, and I proceeded to watch it about twenty more times when it was released on DVD. I patiently waited for a sequel for years, wanting to know if the Parr family successfully took down the Underminer, how Violet’s date with Tony Rydinger went, if Dash became a track and field superstar, and what was going to happen with Jack-Jack, the baby with multiple powers. Now, after fourteen years, I’ve gotten the answers (and so much more) that eight-year-old me was dying to know.
The film picks up immediately where we left off: the Parrs, having successfully defeated Syndrome, are beginning to live a “normal” life, watching Dash decide where to place in his 200 meter sprint, when the Underminer begins his rampage on Municiberg. Following their (somewhat) successful attempt at stopping the Underminer, the government decides that it’s time, once and for all, to retire the Supers. Defeated and living in a motel, the Parrs are approached by communications mogul, Winston Deavor (the fantastic Bob Odenkirk), and his sister, Evelyn (Catherine Keener; truly top-notch voice work across the board), who promise Mr. Incredible (Craig T. Nelson, who steps into the role like he never left) and Elastigirl (Holly Hunter, who steals every scene with just her voice) — and all supers – the opportunity to come out of hiding.
From there, the film takes off and exponentially gains momentum to a thrilling climax reminiscent of Speed 2 (but infinitely better, I promise). The film’s A-plot, centered around Helen/Elastigirl vs an enigmatic villain, the Screenslaver, is the movie’s only disappointing aspect due to its predictability and the sense that Bird was phoning-in this aspect of the film. Without spoiling anything, the Screenslaver starts out as a truly creepy, well-motivated villain (he has a speech in the second act which felt straight out of USA’s Mr. Robot), but quickly becomes a generic character who, most disappointingly, acts against the rules that Bird had so expertly established in the first film. In The Incredibles, Lucius/Frozone (Samuel L. Jackson, thankfully with a much larger role this time around) and Bob/Mr. Incredible have a hilarious conversation which jabs at one of the superhero-genre’s most irritating tropes: villains monologuing when they, realistically, should just get on with their plan and/or kill the Superhero they have prisoner. It was a phenomenal moment of genre-subverting self-awareness which made the original so iconic. Now, in an identical situation as the one Frozone described in the first film, our villain “monologues” for no reason other than to explain to the audience exactly what their motivation is. It was a disappointing moment in an otherwise spectacular film which goes out of its way to treat the superhero-genre with a realism and relatability that is rarely, if ever, seen from Marvel or DC.
So, despite the film’s weak A-plot, literally every other moment had a smile glued on my face like I was eight-years-old again. With Helen off being the face of the Supers’ Return, Bob takes up the role of stay-at-home-dad. This is where the film truly shines. Watching Bob learn the ins-and-outs of parenting his three vastly different children with vastly different issues is both hilarious and rings true for just about everyone. Violet, with her teen angst over Tony Rydinger, Dash’s homework (which produces possibly the film’s greatest line, “I don’t know that way! Why would they change math?”), and Jack-Jack’s burgeoning superpowers. Each relationship is handled with such care and joy that it’s evident if Brad Bird could’ve made a three-hour film centered around the everyday lives of our Super-family, he would’ve. And, of course, everyone’s favorite designer returns to the fun as well. Tasked with babysitting Jack-Jack overnight, Edna Mode (voiced by Brad Bird himself) is initially reluctant (“I’m an artist”), but is soon more than willing to not only watch Jack-Jack, but take him on as an apprentice of sorts (which leads to the film’s second-best gag).
The animation on display is spectacular and visually arresting. We’re still in the same world we know and love, but with finer detail everywhere you look. The cinematography is some of the best Pixar has ever produced (I’m not sure anything will top 2015’s The Good Dinosaur), and it makes for an even more immersive experience than the first film. Standout scenes include the Underminer battle, the train sequence with Elastigirl (a fantastic parallel to the first film), and the first battle with the Screenslaver (if you’re epileptic, be ready to turn away for about a minute). Brad Bird’s skill as a visually storyteller has never been clearer, and neither has his love for the Parrs.
In a market over-saturated with superheroes, whether they’re Avengers, X-Men, or the Justice League, Brad Bird has proven, once again, that finding the truth in your characters and their relationships is more important than any superpowers on display. But the powers are fun too.