'Incredibles 2' Review

Nominated For: Best Animated Feature.

Incredibles 2 chronicles the continuing exploits of the super-powered Parr family as they face new challenges in wake of the public's pessimistic perception of superheroes. When public relations strategist and pro-superhero advocate Winston Deavor approaches the supers, Elastigirl is enlisted to sway public opinion by wearing a body camera that will record her heroic endeavors. Meanwhile, Mr. Incredible faces his greatest responsibility yet as he's left to take care of their kids alone. However, a new evil emerges in the form of a cybercriminal who aims to hypnotize the world through television and computer screens, so it's then up to the supers to thwart this villain's evil agenda. 

The wait for Incredibles 2 has been a lengthy one... Fourteen years, as a matter of fact, which is the longest period of time between Pixar's franchise-specific sequels thus far (Finding Dory comes in second with a thirteen year gap between it and Finding Nemo). Therefore, it should come at no surprise that I've eagerly awaited this superhero sequel since first seeing The Incredibles. Many have questioned why it could have possibly taken this long, and the answer is fairly simple. For one, animation is a long tedious process which involves hundreds of people. In addition, writer-director Brad Bird said he would only return once he found a story he deemed to be worth telling. I'm sure Bird had many ideas bubbling in his mind over the years, but he only realized the right story more recently. Another question I've seen posed is why the characters weren't aged up with the audience ala Toy Story 3 or How To Train Your Dragon 2? Bird's response cites that the characters and their powers are meant to reflect the traditional family roles at those precise ages, and the dynamite dynamic from the original would be lost if he were to age them up. 

Incredibles 2 also represents Bird's long-awaited return to animation after giving live-action a shot with Mission: Impossible - Ghost Protocol and Tomorrowland. Bird's back and he takes the traditional sequel route of beefing up components audiences loved about the first. I'm glad he took the story in a new, natural direction rather than rehashing the original, but some story elements didn't fully work for me. One huge disadvantage Incredibles 2 faces compared to its predecessor is that its being released in a time where superhero films are a dime a dozen. As a result, specific plot elements come across as genre tropes and the plot is pretty predictable. None of this is to say I was drastically disappointed in Incredibles 2, rather I was a little underwhelmed in certain areas due to my own sky-high expectations. 

My primary point of contention though would have to be the film's antagonist. Compared to Syndrome, Screenslaver's a fairly lackluster villain with a tired plot we've seen a million times before and the motivation behind the scheme isn't very compelling either. Really, this villain is just generic cannon fodder that you'll probably forget about in a matter of days. 

With that being said, when Incredibles 2 works, it REALLY works. The family drama is better than ever and it delivers the superhero spectacle audiences have come to expect by now. The animation is substantially improved over the original with more detailed character models and fleshed out environments, and it can all be credited to the progression of technology and the extraordinary animators working over at Pixar. Underneath it all, Michael Giachinno follows up his iconic orchestrations from the first film with another superb score that's perfectly in-tune to the events at hand. 

While I was certainly entertained by Elastigirl's action sequences and Mr. Incredible's efforts at parenting on his own, these plot-lines feel loosely connected and a bit disjointed whenever the film goes back-and-forth between the two. I suppose that may be by design, but it's not till the third act that it all comes together and the other family members unfortunately feel sidelined till then as a result. It's also worth noting that this whole subplot feels especially relevant to the whole hoorah around the Me Too movement by challenging the traditional gender dynamic among parents. You can take it or leave it, but I personally didn't mind and found it to be a refreshing change of pace for the story at hand. 

Meanwhile, the shenanigans Bob must endure in his attempts to care for the children are notable highlights. It's kind of fascinating to witness the strongest man in this world be beaten down by the monotony of child-rearing. All of a sudden, he's gotta deal with Jack Jack's unexpected and ill-defined powers, Dash's math homework, and Violet's boy trouble when all he wants to do is be in his wife's place saving the world. It's a fun premise that surprisingly doesn't wear thin.

As for the cast, Craig T. Nelson, Holly Hunter, Sarah Vowell, and Huck Milner each are able to successfully channel the charismatic characteristics each family member is known for. Once again, you buy the family dynamic because of their unbeatable chemistry. Oh, and it probably should be noted that Milner stands in for Spencer Fox because Fox simply aged out of the role. On the flip-side, newcomers to the super-ensemble include Catherine Keener, Bob Odenkirk, Sophia Bush, Phil LaMarr, Isabella Rossellini, and Jonathan Banks who each did an admirable job filling out the ensemble. Banks sadly had to step in the role of Rick Dicker for Bud Luckey who unfortunately passed away earlier this year. While there's no post credits scene, there's a title card at the end of the credits which dedicates the film to him and you can listen to some theme song renditions towards the end of the credits which are an absolute delight. 

On a brighter not, Jack Jack undoubtedly stole the show thanks to some hilariously crazed antics and Eli Fucile's babling. Just wait till he faces off against a raccoon because you're in for the showdown of the century. 

As for the returning supporting characters, super-suit fashionista Edna Mode and Bob's best bud Frozone get substantially larger roles this time around. I was satisfied with how Bird handled Edna because she plays an important part in helping out Mr. Incredible, but really wish Frozone had been given more to do in the grand scheme of things considering he's my favorite character from the first film. Regardless, Bird and Samuel L. Jackson voice the characters flawlessly by bringing the obsessive overreactive attitude and coolness their respective characters require. 

After fourteen years though, Incredibles 2 proves to be a worthy follow-up to a beloved superhero story with improved animation, more moments of levity, and plenty of high-flying action sequences. While it may not out-do its predecessor, it's still a solid sequel that's incredible in its own way and I'm willing to wait another fourteen years for an Incredibles 3. 

Film Assessment: A-

Throwback Thursday Review: 'The Incredibles'

This week I've already shared quite a few reviews, but I didn't want to pass on reviewing The Incredibles when I've waited fourteen years to see its sequel. I actually saw both films at an Incredibles IMAX Double Feature Wednesday night so I'll be sharing a review for Incredibles 2 shortly, but in the meantime, go ahead and read my thoughts on the original. As for the near future, I'm preparing my Throwback Thursday Review of The Lost World: Jurassic Park to share while I'm away next week and I'll certainly be reviewing Jurassic World: Fallen Kingdom when I return.

'The Incredibles' Review 

Nominated For: Best Animated Feature, Best Original Screenplay, Best Sound Editing, and Best Sound Mixing. 

Won: Best Animated Feature and Best Sound Editing.

Fifteen years after the government banned supers, The Incredibles accompanies the married super-couple Bob and Helen Parr (formerly known by the alter-egos Mr. Incredible and Elastigirl) who have been relegated to the suburbs to live normal lives with their three children. However, Bob misses the day-to-day heroics and is having a difficult time adjusting to the mundane nature of normalcy. When an opportunity comes his way to put his super-suit back on and get paid by a mysterious organization to fight a rampaging robot, Parr takes the gig and ventures to the island without a second thought. As Bob soon finds himself in over his head, it's up to his family to rescue him.

It's crazy to think I was seven years old when The Incredibles was released in theaters. I can recall it was released during the hey-day of Pixar as the studio's sixth feature, coming off a string of hits including Toy Story 2, Monsters Inc., and Finding Nemo. I remember being all jazzed to see what story the studio in store involving superheroes because there were hardly ANY superhero films in 2004. I'm twenty one, Pixar has now released twenty animated features, and I can't even tell you how many superhero movies exist if that gives you any indication about how much time has passed... As I'm sure is the case with most people around my age, I hold The Incredibles in very high regard and consider it to still be one of Pixar's best original offerings fourteen years later. Last year, I even placed it among my personal list of Fifty Favorite Films ever made (animated or otherwise) if that tells you anything.  So, why is The Incredibles so great and well-beloved to this day? That's precisely what this review is going to explore.  

 

The Incredibles was written and directed by Brad Bird as his second feature film following The Iron Giant. Bird brought a tone, style, and sensibility that the superhero genre had simply never seen before. He made an animated film that was an ode to parenthood and reminiscing on the glory days of old. Revisiting The Incredibles, it's very surprising to notice the mature subtext surrounding it all. The film hits all four target demographics because older audiences can relate to Mr. Incredible's mid-life crisis while children are wowed by the sensational spectacle. Family is the thing that ties it all together though. Without its focus on family, The Incredibles may have lived on in everyone's mind as an entertaining animated superhero affair, but it never would have become the animated classic its known as today. 

The names, power-sets, and personalities of the Parr family all reflect their various "roles" in the traditional family structure, which enables audience members at various stages of life to empathize with these character's struggles. However, underneath it all is a valuable message about embracing your identity, togetherness, and the importance of family. This is unique because there's yet to be any other superhero film that's tackled this subject matter this well. I guess you could say that teamwork's been covered plenty, but the family angle is almost exclusive to The Incredibles. 

Aside from family, Bird distinguished The Incredibles from the rest of the genre by setting it in the fifties and sixties to give it an atmosphere all to itself. Michael Giachinno's exceptional score fits accordingly with its jazzy, heroic espionage angle. One thing I noticed in particular while rewatching the film is that Bird and Giacchino brilliantly matched the film's atmosphere to however Mr. Incredible perceived the setting at that point-in-time. While the protagonist's point-of-view is always the lens in which we view a film's events, I noticed something unique in this respect. Take Bob's visit to the island for example. When he first arrives and later returns for subsequent visits, the island framed as a luxurious island resort. However, as soon as he learns the true nature of Syndrome's work, the facade vanishes and the aesthetic of the evil lair is much more clear. The tension escalates and things become more unsettling as the plot proceeds. Giacchino's score perfectly parallels and enhances this shift in perspective. On top of merely sounding cool, Giacchino's music serves another purpose and so it has the makings of a great film score in its very DNA. 

Beyond that, I noticed so many parallels in the film's visual language and dialogue. The image shown above contrasts Bob's reminiscing about the glory days in his office, as Buddy looks in hatred at the hero and wants to do everything in his power to make him pay. It's also kind of creepy how relevant the film's depiction of toxic fandom is to the toxic corners of internet fandom today. This is just one example, but there's so many more spread throughout the film and I find it fascinating how those two contrasting stills were able to tells a story on their own.

I'm also going to outline an example of one particular bit of dialogue resurfacing that I found to be quite clever. Early on in the film, when Helen is taking Dash home from school, the mother and son are arguing about whether he should use his powers or not. Dash makes the claim that their powers make them special and Helen remarks that "Every one's special..." and Dash retorts with "Which is another way of saying no one is." Later on, when Syndrome has the super-family captured, he monologues about his evil plan and has some back-and-forth with Mr. Incredible. He tells Mr. Incredible that he accomplished everything without their "oh-so-special powers" and he'll sell his inventions when he's done with it all so that everyone can be superheroes. He then follows this up with a  maniacal laugh and the lines "And when every one's super, no one will be." It's a recurring beat that wasn't included unintentionally. It's laid into the groundwork of the film early on and returns to reinforce Syndrome's point-of-view. You hear all he has to say and think "Wow. This is seriously messed up, but he's onto something and I can see where he's coming from."

In other respects, The Incredibles features the top notch animation, superb sound design, meaningful storytelling, and formidable voice cast that Pixar is well-known for. Craig T. Nelson, Holly Hunter, Spencer Fox, Sarah Vowell, and Samuel L. Jackson all turn in solid work as the various Incredibles and Frozone respectively. Nelson, Hunter, Fox, and Vowell in particular authenticate their family dynamic in addition to selling themselves as superheroes. Oh, and Brad Bird does a simply fabulous job providing the voice of everyone's favorite superhero designer Edna Mode. 

As I've touched on, Syndrome is a terrific villain largely because his backstory and motivations are understandable. Regardless of whether you agree with what he's doing or not, you can see his faulty reasoning behind it all. However, it's the campy, over-the-top voice performance from Jason Lee that really brings his character home. Starting as Buddy, Lee convincingly captures the happy-go-lucky fanboy attitude only to later relish in Syndrome's sadistic villainy later on. It's almost like the flip of a switch when he eventually emerges with the evil persona.

All these years later, The Incredibles isn't simply remembered for being a fun flick though. Its focus on family keeps it in the conversation and I have no doubt it will maintain its status as an animated classic for years to come because of just that! After fourteen years, The Incredibles is still exhilarating, action-packed, full of heart and humor, and even lives up to its namesake as one of the most incredible superhero stories ever told.

Film Assessment: A+

'The Big Sick' Review

Nominated For: Best Original Screenplay.

The Big Sick is a romantic comedy that tells the true love story between Pakistani comedian Kumail and local American grad student Emily. The two meet at one of his stand-up sets and as their relationship blossoms, Kumail grows increasingly concerned about how his traditional Pakistani family will react when they learn about the interracial relationship. However, things take a turn for the worse when Emily falls ill and has to be placed into a medically-induced coma. Kumail then grows close to Emily's paranoid parents through an eye-opening experience. 

Anyone that knows me could probably guess rom-coms aren't exactly my forte, my strong suits are simply spread across the sci-fi, action-adventure, and musical genres. In actuality, I don't even think I've even reviewed a rom-com before (Yep, I just scrolled through the "Move Reviews" page of my blog and was unable to find a single trace of one) and I legitimately can't remember the last good romantic comedy I've seen. I mention this because I feel it's important that my readers understand my mind-set walking into this film. I went out on a limb and saw The Big Sick because I'd seen how great the reviews for it had been. I hadn't seen a single trailer or even heard of the film till the weekend of its limited release, but I'm really glad I gave the indie (independent) rom-com a chance.

The Big Sick, like last year's Manchester By The Sea (also distributed by Amazon Studios), is one of the most realistic films I've seen of late. Nothing in The Big Sick felt hopelessly contrived to reel in the audience's attention. Every aspect was actually incredibly authentic, which is probably because the screenplay was written by the real-life couple upon which this film is based (merely updated to fit the modern day), Emily V. Gordon and Kumail Nanjiani. 

Michael Showalter directs the low budget rom-com with a hands-off approach. There's not really any distinct directorial flourishes because the shining star of this film is its screenplay. The Big Sick is one of the funniest movies I've seen this year that also isn't afraid to tackle real-world topics such as racial profiling, interracial relationships, or even 9/11. It's all about the obstacles life puts in front of humanity and struggling to find a way around those. One reason that The Big Sick feels hauntingly real is that everything's easy-going at first before an abrupt tonal shift changes everything. 

The Big Sick also functions well as a romantic-comedy because it's equally endearing, hilarious, and serious. Showalter walks the tonal tight-rope with poise as the film never veers too far in one direction to completely undermine all the groundwork that's been lain. Rather than shy away from humor in the film's heaviest moments, The Big Sick sharpens its satirical wits to interject believable comic situations for the characters to traverse. The Big Sick isn't without its pacing problems or some seemingly cliché characterization with the portrayal of Kumail's family, but I'm not sure the story could have been told in the same manner without those adversities. 

 

Kumail Nanjiani plays himself and naturally knows himself better than anyone else possibly could, so  it's no surprise he was great in the role. Nanjiani is not the typical leading man, he's incredibly awkward. He doesn't display a dashing, debonair demeanor, but rather a sense of uncomfortableness in his daily life. Nanjiani excels in that niche, but also really impressed me by exhibiting a delicate and intense emotional angle I wasn't expecting to see.

Zoe Kazan fills in for the real-life Emily and exudes a quirky charm which the audience will be hard-pressed not to enjoy. The chemistry between the two actors also really solidified the relationship as it becomes instantly understandable that the two characters are fated to be with one another. 

Holly Hunter and Ray Romano step in as Emily's parents Beth and Terry and their dynamic opposite Kumail is one of the film's highlights. Hunter projects a fierce tough exterior to cover her sensitive side and she switched between the two polar-personalities incredibly well. In other news, I cannot stress to you enough just how funny Ray Romano is in this movie. Romano channels an unsure exuberance that lends itself well to the quips his character throws out of left field. The dialogue that came out his mouth had me dying of laughter and I simply couldn't get enough of it. 

If The Big Sick is playing near you, I highly advise you check it out. I know there's other films out well worth-seeing right now such as Spider-Man: Homecoming, War for the Planet of the Apes, Dunkirk, and my personal favorite of the year Baby Driver, but if you've already seen those, I think The Big Sick would make a great date movie. The Big Sick wasn't the critical darling I was expecting,, but I found The Big Sick to be particularly pleasant, and my opinion of it has only improved over the last few days. 

Film Assessment: B+