Ah, I sure do love a reunion!
But do you know what I love even more? A reunion, in which you are happy and anticipating to see every living soul there, everyone has retained their spirit, but have improved on themselves since you last saw them, every lull or activity is immaculately timed and manages to be invigorating whatever it is, everybody has a splendid time, leaves with a grin on their faces, and you accept that whether or not it occurs again on a later date, you were immensely satiated for the time being.
I know. Sounds like wishful thinking, but tonight, PIXAR reunited me with my annual PIXAR short film; this time, being Bao, a bizarre, avant-gardely humorous, and heartwarming story about the disconnect and reconnection of a mother and son.
And then came the Parr family reunion. It was...
Quite incredible, to say the least. Everything I expected, everything I craved, and then some.
The film picks up exactly and perfectly where the first film ended. The Underminer is causing chaos in the city and while the Incredibles spring into action, it isn't a complete success, with the Underminer robbing a bank and some substantial damage caused to the city. Authorities' apprehensions for superheroes soon spring again and the family, shamed and homeless, are forced to stay at a motel.
However, they are soon approached by a gentleman named Winston Deaver, owner of Devtech. He idolized the heroes as a child and now as an adult, he plans to get superheroes back on the public's side. Elastigirl is named to be the at the vanguard of this movement, as she's off on a mission to protect the city from the Screenslaver, while Bob, a.k.a. Mr. Incredible, takes over duties as a parent. However, things being complicated when the Screenslaver has a vastly different identity than expected, as well as Jack Jack developing his superpower.
Oh, did I say one? I meant seventeen.
When this film was finalized and it was made official, I had very low expectations, but in a reasonable, excited way. I expected it to (a) show me the Parr family after the events of the first film and (b) do something new and interesting with them. As much as I enjoyed the first film, I'm not the fiercest fanatic of that film, so as long as it followed and obeyed my expectations, it was due for a rave review from me.
What's remarkable about this film is that the film continues the legacy of the first film via one aspect: spirit. This film rarely and sparingly utilizes callbacks or references to the first film, but by merely capturing such an exact tonal replica of the first film, it manages to be more evocative of the first film, rather than nudging the audience every ten minutes. It balances the action, comedy, heart, and conflict practically identically to the first film. During the action and chase scenes, there are still arguments about who's going to watch the baby. Before FroZone leaves for a mission, he can't escape being nagged at by Honey.
How this film stands alone, however, is through another aspect: progression. We already developed the characters and powers. It is now time to let everything be taken full advantage of. The story is more than just a simple mission-to-fight-a-villain story. It uses the impetus of the villain and the idiosyncrasies and flaws of its characters to reveal commentary about the media, television, entitled contentment, and even about parents playing equal roles in raising their children.
Also, what Coco did for racial tolerance, The Incredibles 2 is continuing for feminism. The film's basic premise is that Elastigirl is the hero that's not only the choice because of wisdom, but also because she's the most marketable, the boldest face for this advocacy. In 2018, this couldn't have been any more of a perfect time to release a sequel that takes the approach of having a female front-and-center. There's even a little nuanced moment where Evelyn, the sister of Winston, talks about being an inventor and how adroit and advanced she is at it and Helen subtly gives her an impressed look. The girl-power themes strike not just an audacious note, but a gracious note, as in lead, support, and pay it forward. It goes further when Mr. Incredible struggles with the idea of not being in the forefront of this pro-superhero movement, despite being genuinely excited and supportive of her, connoting and articulating the belief that in order for women to move forward in our society, it may require men, the gender possessing the higher quantities of power and clout, may need to be humbled once in a while.
On a technical level, this both simmers in the same field, yet surpasses the original, as well. The animation has the same buoyancy and juvenile ecstasy of the original, yet it is so much more ambitious and multifarious in style, drawing influences of neo-noir, action film-style visuals, and even architecture in Palm Springs. This leads to some of the most gorgeous, captivating imagery I've seen from the Parrs' rental house, to seeing those familiar, innocent, wide blue eyes on the Parrs, to a mere scene of a moon-lit pool, as Helen and Bob have a discussion.
This also makes way for some of the most rousing, full-bodied, visually astounding action sequences I've seen in an animated film, including one of the propulsive, white-knuckle monorail sequences in all of cinema. Also, the reverent joy to see the reprise of these characters' lives can clearly be empathized with via the voice actors because returning actors Craig T. Nelson, Holly Hunter, Sarah Powell, and Samuel "Mr. Motherfucker" Jackson adjust themselves squarely and comfortably back into their roles. Bob Odenkirk brings a looney fervor to the role of Winston and Catherine Keener, fresh out of Get Out, slithers and simmers in a Sharon Stone-esque emulation through the role of Evelyn, Winston's sister. On the subject of returns, it wouldn't be a badass PIXAR film without Michael Giacchino composing the score, providing a musical score with thematic continuity and singular ingenuity, all the while never depriving us of the grandiose notes we expect to hear from The Incredibles.
If I had to pick my favorite PIXAR film, I would give a three-way tie to the Toy Story films. If I had to determine the most meaningful PIXAR film, I'd easily chalk it up to Inside Out. If I had to select the most gorgeous PIXAR film, I'd say Coco. However, if I had to pick the most entertaining PIXAR film, I'd say The Incredibles 2. I feel that, internally, deep down, I knew what to expect when the Disney logo preceding the film was cloaked in the superhero motifs and bleeding, beautiful reds we've grown accustomed to from The Incredibles. That frilly, disconnected, narratively distant moment of build-up sums up the entire film: embracing current progression, while attuned with that old spirit. For a film of such high stakes, this is one of the easiest, instantly entertaining, effortlessly appealing films of the year. It feels less like a laborious effort to engage and more like a round-table read, where everyone is happy to be there. By simply having everyone back and enjoying themselves, it managed to both achieve its basic requirements and exceed them.
Also, there's a line in the film where agent Rick Dicker states, "Politicians don't like people who do good just because it's right." I think I'll just leave this here for y'all.
RATING: Four out of four stars!
But do you know what I love even more? A reunion, in which you are happy and anticipating to see every living soul there, everyone has retained their spirit, but have improved on themselves since you last saw them, every lull or activity is immaculately timed and manages to be invigorating whatever it is, everybody has a splendid time, leaves with a grin on their faces, and you accept that whether or not it occurs again on a later date, you were immensely satiated for the time being.
I know. Sounds like wishful thinking, but tonight, PIXAR reunited me with my annual PIXAR short film; this time, being Bao, a bizarre, avant-gardely humorous, and heartwarming story about the disconnect and reconnection of a mother and son.
And then came the Parr family reunion. It was...
Quite incredible, to say the least. Everything I expected, everything I craved, and then some.
The film picks up exactly and perfectly where the first film ended. The Underminer is causing chaos in the city and while the Incredibles spring into action, it isn't a complete success, with the Underminer robbing a bank and some substantial damage caused to the city. Authorities' apprehensions for superheroes soon spring again and the family, shamed and homeless, are forced to stay at a motel.
However, they are soon approached by a gentleman named Winston Deaver, owner of Devtech. He idolized the heroes as a child and now as an adult, he plans to get superheroes back on the public's side. Elastigirl is named to be the at the vanguard of this movement, as she's off on a mission to protect the city from the Screenslaver, while Bob, a.k.a. Mr. Incredible, takes over duties as a parent. However, things being complicated when the Screenslaver has a vastly different identity than expected, as well as Jack Jack developing his superpower.
Oh, did I say one? I meant seventeen.
When this film was finalized and it was made official, I had very low expectations, but in a reasonable, excited way. I expected it to (a) show me the Parr family after the events of the first film and (b) do something new and interesting with them. As much as I enjoyed the first film, I'm not the fiercest fanatic of that film, so as long as it followed and obeyed my expectations, it was due for a rave review from me.
What's remarkable about this film is that the film continues the legacy of the first film via one aspect: spirit. This film rarely and sparingly utilizes callbacks or references to the first film, but by merely capturing such an exact tonal replica of the first film, it manages to be more evocative of the first film, rather than nudging the audience every ten minutes. It balances the action, comedy, heart, and conflict practically identically to the first film. During the action and chase scenes, there are still arguments about who's going to watch the baby. Before FroZone leaves for a mission, he can't escape being nagged at by Honey.
How this film stands alone, however, is through another aspect: progression. We already developed the characters and powers. It is now time to let everything be taken full advantage of. The story is more than just a simple mission-to-fight-a-villain story. It uses the impetus of the villain and the idiosyncrasies and flaws of its characters to reveal commentary about the media, television, entitled contentment, and even about parents playing equal roles in raising their children.
Also, what Coco did for racial tolerance, The Incredibles 2 is continuing for feminism. The film's basic premise is that Elastigirl is the hero that's not only the choice because of wisdom, but also because she's the most marketable, the boldest face for this advocacy. In 2018, this couldn't have been any more of a perfect time to release a sequel that takes the approach of having a female front-and-center. There's even a little nuanced moment where Evelyn, the sister of Winston, talks about being an inventor and how adroit and advanced she is at it and Helen subtly gives her an impressed look. The girl-power themes strike not just an audacious note, but a gracious note, as in lead, support, and pay it forward. It goes further when Mr. Incredible struggles with the idea of not being in the forefront of this pro-superhero movement, despite being genuinely excited and supportive of her, connoting and articulating the belief that in order for women to move forward in our society, it may require men, the gender possessing the higher quantities of power and clout, may need to be humbled once in a while.
On a technical level, this both simmers in the same field, yet surpasses the original, as well. The animation has the same buoyancy and juvenile ecstasy of the original, yet it is so much more ambitious and multifarious in style, drawing influences of neo-noir, action film-style visuals, and even architecture in Palm Springs. This leads to some of the most gorgeous, captivating imagery I've seen from the Parrs' rental house, to seeing those familiar, innocent, wide blue eyes on the Parrs, to a mere scene of a moon-lit pool, as Helen and Bob have a discussion.
This also makes way for some of the most rousing, full-bodied, visually astounding action sequences I've seen in an animated film, including one of the propulsive, white-knuckle monorail sequences in all of cinema. Also, the reverent joy to see the reprise of these characters' lives can clearly be empathized with via the voice actors because returning actors Craig T. Nelson, Holly Hunter, Sarah Powell, and Samuel "Mr. Motherfucker" Jackson adjust themselves squarely and comfortably back into their roles. Bob Odenkirk brings a looney fervor to the role of Winston and Catherine Keener, fresh out of Get Out, slithers and simmers in a Sharon Stone-esque emulation through the role of Evelyn, Winston's sister. On the subject of returns, it wouldn't be a badass PIXAR film without Michael Giacchino composing the score, providing a musical score with thematic continuity and singular ingenuity, all the while never depriving us of the grandiose notes we expect to hear from The Incredibles.
If I had to pick my favorite PIXAR film, I would give a three-way tie to the Toy Story films. If I had to determine the most meaningful PIXAR film, I'd easily chalk it up to Inside Out. If I had to select the most gorgeous PIXAR film, I'd say Coco. However, if I had to pick the most entertaining PIXAR film, I'd say The Incredibles 2. I feel that, internally, deep down, I knew what to expect when the Disney logo preceding the film was cloaked in the superhero motifs and bleeding, beautiful reds we've grown accustomed to from The Incredibles. That frilly, disconnected, narratively distant moment of build-up sums up the entire film: embracing current progression, while attuned with that old spirit. For a film of such high stakes, this is one of the easiest, instantly entertaining, effortlessly appealing films of the year. It feels less like a laborious effort to engage and more like a round-table read, where everyone is happy to be there. By simply having everyone back and enjoying themselves, it managed to both achieve its basic requirements and exceed them.
Also, there's a line in the film where agent Rick Dicker states, "Politicians don't like people who do good just because it's right." I think I'll just leave this here for y'all.
RATING: Four out of four stars!
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