"Incredibles 2" upholds the Parrs as one of the best families in the history of cinema

Rating: 8/10 (23 September 2018)

Luck or fate, my childhood, like those of thousands of human beings, was strongly influenced by Disney/Pixar's wonderful, sophisticated tales, which I saw on TV without any prejudice or criticism over and over again, movies that always were a healthy, high-quality entertainment. If I revisit these films today, I can possibly question certain aspects due to the passage of time and that's completely natural because a flick can be perceived in a myriad of ways according to age, mood or state of mind of the viewer. One thing that definitely seems to have been proven with unfading solidity is the thought that they're truly complex audiovisual works, these movies were the beginning of a kinetic digital era for animation genre that currently keeps going on both destroying box office expectations and exciting and teaching the new children with creativeness, passion, and effort. Although not all Disney-Pixar-made movies of the 21st century are modern classics, there are time-worthy pieces of art with visual tidiness and original, heartfelt storyline execution that keep alive- and many nonfans have complained about this - the 'Disney formula' that inspires hope, union, forgiveness and improvement.
That's why the first movie of the Parr family is so intimately untouchable for me, just like a few others beautiful animated films. Even with its unimportant flaws, it saved the 2000's superhero genre and set some rules to follow for the following animation stories thanks to one of the most powerful, meaningful, family-friendly screenplays in the industry, minimizing the margin of error as for the effect of the plot in worldwide audiences; this is one more Disney-Pixar feature-length for the ages.
A sequel was a high-risk move on the part of the company that produced major concerns among die-hard fans. On the one hand, for example, we have the Andrew Stanton-directed sequel/spin-off "Finding Dory" as a reference, but the Dory-centric movie was far from reaching the impact of Marlin's ocean trek. However, on the other hand, "Toy Story 2" by John Lasseter, former creative chief at Pixar and Disney, found the magic formula to enhance the good features from the first film and mix them with interesting, new improvements, turning into a truly computer-animated marvel. When it was announced that Brad Bird would direct this new story, things quieted down a bit, and after knowing the time between one film and the other - just 14 years!, - everyone breathed a sigh of relief. Today, it's possible to find out what kind of work was made along this time and, to tell the truth, the final cut manages to stand alone due to the return of the original vocal cast, the preservation of the 2000's animation style, a superhero family story with interesting repercussions and a few features that, although don't overshadow some detrimental decisions, at least, reach a good conclusion with a harmony of different genres not so miscible in that scenario.
"Incredibles 2" is an important film, a smart sequel that enriches its animated universe through a radically contrasting plot that refreshes the Hollywood-era animation, superhero scene. Even when we've seen movies driven by gender-swapped thematics between daughter and mother ("Freaky Friday"), criminal guy and mean girl ("The Hot Chick") or married man and single friend ("The Change-Up"), most of these body-life switches were, first of all, comedies, but also provoked by some kind of magic object or spell, as a fortune cookie, a pair of earrings or peeing in a sacred fountain. On this occasion, the same characters are who will switch roles by their own due to money crisis, survival compels them to make great efforts, just like a real-world family. Putting narcissistic, kind-of-sexist Bob Parr/Mr. Incredible in check when his wife takes on a fabulous new job is a risky plotting move that, even if it sounds clichÃ©, allows the story to argue that household chores and family issues aren't easy work or responsibility of a single member.
As for the family as a whole, the film gets a myriad of ways to use the comedy potential of every member with every-day, representative situations which take advantage of the well-defined personalities to set up hilarious sequences. Dash is, in some way, sidelined with humor focused on his lines this time. However, it puts a greater importance on Violet, who with her impossible-love sub-plot fit in with ease. But, no one can deny it; Jack-Jack steals the entire film by being one of the funniest, cutest characters this year. Math, breakups, dinner, household chores, and an adorable baby have never been better in an animated film.
Clearly, mom is the boss here; she gets the spotlight, a woman who's forced to lay aside her children and husband for an indefinite period to "make supers legal again." There is a strong, meaty commentary/fictional debate on the issue of the legalization of superheroes, a purpose going through several discussion-worthy obstacles. Helen, the new focal point in the plot, blissfully becomes one of the strongest rocks of this sequel because there are insufficient animated films that place a woman in the starring role with such priceless storyline skills. It's an important step in female representation in kids-oriented cinema to see not only how a woman monopolizes the whole story, but also the way they change the stereotyped conception of mother; likewise, just a few decisions feel synthetic as the story takes the right time for Bird's distinctive approach and development on the visual and narrative section, a balance where comedy takes place at home mainly, whereas the most dramatic events takes place among the streets of the huge metropolis. At a given time along the movie, Voyd, the Kristen Stewart-inspired character voiced by Sophia Bush, questions Elastigirl about how it she can level her life as a heroine, mom and wife, and although it's never answered by her, the film itself provides the answer.
While Mr. Parr does household chores, Elastigirl accepts to reintegrate in the field, just like that heroine dressed in red and white who kicked the asses of pickpockets and thieves some years ago. Brushing transient lawbreakers aside, the Screenslaver is her main target, a new-age antagonist that serves as a stark commentary on crowd control by media info day to day. This villain plays his role in an interesting way, at least until the predictable big twist takes place, from that moment on, the "bad guy" must recover strength from any situation in order to get back the threatening sense he was during the first fifty minutes.
Special mention for a couple of iconic characters who have the right to be part of the modern-day pop-culture as for animation field. That's right, it's the meanly charming Edna Mode, who, ironically, steals the show completely just as the first film with her upset, super-rich visionary costume designer thanks to the writers' witty work. But alongside Jack-Jack, who supports on his tiny shoulders the best visual gags, they're an explosive duo, in matters of comedy, of course. It will be no surprise that it's already insinuating their own movie, however, Disney has the things clear, and that makes us happy.
The animation isn't at the same level of detail as the most visually complex feats of the company, but it isn't by reason of a poorly-crafted work, is because the film sets just some minutes after the first feature film, that is to say, they decide to remain in the same timeline of 14 years ago, safeguarding its textures and animation styles, holding true to the simplicity of the features at that time, a world where realism doesn't have to be part of the equation. There are a few eye-popping landscapes; on the contrary, the film stays in urban settings to develop most of the plot. Truly unforgettable, beautiful sequences can be counted on the fingers of one hand, there are only a handful of important pictures, the best frame: An exhausted Bob going upstairs carrying his two boys in his arms, a visual poem that finds beauty in the emotional. It's understandable that Pixar doesn't deliver a visually arresting experience, but there is a character who went too far, id est, he looked like I was looking at a 2005 video game character, his expressions were made of rubber. It's Bob Odenkirk's character, Winston Deavor, he's of wax.
Leaving much to be desired with his "Fallen Kingdom" score, Michael Giacchino takes the throne back with the habitual power, experience in most of his soundtracks. A composer with more than 128 credits divided by video games, shorts and feature films, Giacchino creates again an excellent soundtrack for this animated sequel, one that is equally effective and exciting in both the most dazzling set-pieces and the simpler, dramatic scenes, there is passion in the melodies, which don't stay behind the pictures, they even got the spotlight in some set-pieces, modernized but faithful compositions. Another towering work of a towering composer.
"Incredibles 2" by Brad Bird is an unusual sequel, as it knows how to transmute into a Hollywood modern motion picture by using a mold that respects the universe built fourteen years ago. For a certainty, its greatest virtues are found in the priceless female importance, the skillful editing that balances comedy and drama as only Pixar can do, a super-absorbing soundtrack and an enchanting narrative treatment that simply would not be possible without Bird's experience, the numerous crew and the incredible vocal cast led by Craig T. Nelson, Holly Hunter, Samuel L. Jackson and Catherine Keener. Brimming with messages of representation, equality, family and topicality, this laugh-inducing family-friendly sequel is a step forward for animation and superhero genre, and another knockout for a company that honors its gems of yesteryear, that goes hand in hand with new technologies and its roots, that roots that were the awakening of a new era.