We're superheroes. What could happen?

Rating: 9/10 (17 July 2015)

What could happen indeed? The Incredibles opens with an action packed introduction of the title superheroes at the peak of their powers - even in the romance department they are sorted. It's a vividly engaging sequence which hints at the sort of relationship Mr Incredible and Elastigirl have beneath those masks, with some playful, almost seductive dialogue. The husky voice acting of Holly Hunter is excellent in this context but also throughout the film in moments of marriage and motherhood.
But skip 15 years and a couple hundred lawsuits and suddenly the age of superheroes is over. It's a distinct tonal shift; the warmth and bravado of the past is replaced with a desaturated and mute palette, highlighting the suburban nuclear life the Parrs now live. Mr Incredible is now out of shape and stuck behind a desk, scamming and weaselling citizens out of their money rather than saving them from burning buildings. It's a Watchmen-like premise; what if superheroes were suddenly uninvited and no longer favoured in the public? And the way Brad Bird introduces us to this new age is so effective and subtle. The revelation of Dash's powers are presented via a seemingly normal occurrence of a misbehaving child forced to go to the principal's office. It's never overtly said but it characterises the over-energetic and impulsive Dash immediately. Bird even manages to incorporate humour and a sense of the absurd in what is a typical parenting issue (Don't Bernie me!). Same with Violet, her powers are also thematically connected to her personality, melting away in thin air at the sight of her crush due to that teenage nervousness.
The way their powers are embedded within the narrative of their civilian relocated lives is done very well. It strengthens the characterisation of the family and creates the opposing viewpoints of Helen and Bob at that point in their lives. Bob gets angry after being fired and in a fit of rage lifts up his entire car while a normal person might just yell. He also carves up Dash's steak so hard he breaks the whole plate. It's all done realistically so that when the dinner table conversation turns sour and they break out their powers, you get a sense of where this family's at. There's humour in Jack Jack's cheering and the sudden freeze and swiftness in which they go back to normal (ala what they should be pretending to be). Beyond that we get more instances of their powers twisting their day to day lives; zoom outs to Bob working out with entire trains, casually lifting up the couch during vacuum cleaning, playing football but with inflated passing yards (later again utilised in the climax). It all progresses evenly; Helen wants the kids to hide their powers, but later praises them for their quick adaptability, and finally they compromise in the end when Dash comes 2nd in the race.
Brad Bird of all people voices the eccentric fashion designer Edna Mode for both ordinary supermodels and heroes. It's a wonderfully bizarre performance brimming full of peculiar mannerisms and memorable dialogue. In particular the no capes sequence which pokes fun at the typical fashion trend of heroes to have that excessive feature. Little titbits like this point to how Bird can turn self awareness of the genre's tropes into funny situations, since by itself it doesn't exactly mean anything except a nod to the audience. A similar memorable line is when Buddy reveals himself to Mr Incredible after all those long years and launches into a typical recount. Bob is seemingly about to strike on the momentarily distracted Syndrome when suddenly he catches him mid flight with his laser and laughs heartily: "You caught me monologuing, you sly dog!" Delightful. As well as this you also have to commend the conversation between Frozone (Samuel L Jackson) and his wife as he struggles to find his super-suit. The juxtaposition of the wife's indifference to the invasion and her indignation at missing their dinner with the action scenes playing outside the window is hilarious. "I am your wife! I'm the greatest good you are ever gonna get!"
Michael Giacchino's first collaboration with Pixar is a stylish success. The score could almost be lifted off the 60s era of spy flicks, as evident by the matching set designs of the initial scenes in the introduction of the film. The predominantly brass composition adds a jazzy tone and provides rhythm and energy to the action scenes. The main theme in particular is very reminiscent of James Bond. Indeed Pixar initially wanted John Barry to compose a similar score to that of the 1969 Bond flick, On Her Majesty's Secret Service. The big band jazz sound makes for a thrilling and stylish addition to the overall film.
The Incredibles is everything modern superhero films are not. It doesn't overwhelm you with frenzied end of world odds or chaotic action sequences, and its humour is well placed and not jarringly inserted as a witty one liner or quip. Most of all the characters are written with refreshing earnesty and sincerity. Although they may possess some incredible abilities, the Parrs are not so different from any other dysfunctional family.