Cast: (voiced by) Craig T. Nelson, Holly Hunter, Sarah Vowell, Huckleberry Milner, Bob Odenkirk, Catherine Keener, Samuel L. Jackson
Director: Brad Bird
Writer: Brad Bird
It amazes me that we had to go through two Cars sequels in order to get here. While Pixar seldom wants for praise anytime they release an original title (Coco just being the most recent example), their non Toy Story sequels tend to receive more lukewarm receptions. Even putting Cars aside (I wasn’t a fan of the original to begin with), Monsters University was weak and unnecessary while Finding Dory, despite being quite good, was not the equal of its predecessor. Even then I think most people would still have agreed that if any Pixar movie demanded a sequel, it was The Incredibles. The smash-hit movie about a family with super powers (not unlike The Fantastic Four except… good), the first film felt very much like an origin story, chapter one in the continued adventures of the Parr family, and it was one of those movies that had a little bit of everything. Action, laughter, drama, suspense, heart; while I wouldn’t rank it among the very best of Pixar, it certainly is one of their most watchable and most likable titles. Fourteen years is a long time to wait for a follow up, but from the very first second it feels like no time at all.
The movie picks up immediately where the last one left off, with the Underminer burrowing through the city and robbing every bank on the way while the Parr family work to try and stop him. Mr. Incredible, Elastigirl, Violet and Dash manage to stop the massive drill tank before it crashes into the city hall, but the feds could not be more displeased. As far as they’re concerned, it would’ve been better if the Parr’s had simply let the mole-like baddie go about his business. The banks’ insurance would have covered their losses and there wouldn’t have been nearly as much collateral damage to clear up. Part of what makes these movies work is that the setting is so consistent yet indefinite (vaguely 60s, yet futuristic), it allows the story to be updated for our times without feeling dated. The government, who deems it less costly to let the bad guys get away with it than to let the supers use their abilities for good, decides to scrap the Superhero Relocation Programme, leaving Bob, Helen and the kids to fend for themselves without financial aid or the help of Agent Dicker who had been so good at keeping them hidden from the public (right after he visits Tony, the would-be boyfriend who discovers Violet’s secret identity, and erases his entire memory of her).
There are however at least one person who believes that superheroes should be allowed to serve for the public good and that is business mogul Winston Deavor. A superhero superfan since he was a kid, he wants to work with Mr. Incredible, Elastigirl and Frozone to improve the public’s perception of superheroes and launch a campaign to overturn their criminalisation. Using body cameras and gadgets designed by his tech-savvy sister Evelyn, Winston wants to project their heroic deeds to the world and show them why the world needs superheroes. Mr. Incredible is only too keen to volunteer but Winston and Evelyn feel that his style of super justice is too cost-effective for their purposes and that the safer bet is for Elastigirl to be the face of their movement. Thus, with a brand new outfit and a space-age motorbike, Helen gets to work while Bob is left home to care for the kids. While she works to foil the plan of Screenslaver, a new supervillain who projects hypnotic images on television screens to control people (again, a new story for modern times), Bob finds being a parent to be just as tasking as any threat he’s faced as he tries to help Violet with boy troubles, Dash with his school work, and Jack-Jack with his new emerging powers (plural; Bob learns that his infant son has at least 17 abilities including spontaneous combustion, laser eyes, super strength, telekinesis and the ability to phase through walls).
Throughout his career Brad Bird has always been interested in following the stories of characters who defy social expectations and who manage to overcome their own limitations. A giant robot capable of immeasurable destruction instead turns out to be a compassionate being. A rat from the sewers of Paris dreams of nothing more than cooking gourmet dishes in a Michelin restaurant. Here he plays around with the conventions that the two main characters would (and in the first film, did) traditionally fill by having Elastigirl be the breadwinner who goes out to save the day with Mr. Incredible as the stay-at-home dad. There’s also a message here about how sometimes the most heroic thing a person can do is stay behind and look after what’s important while somebody else rushes into danger, a lesson that the kids find they have to learn as well. The theme of daring to be more than what others say you can be is given greater resonance by the introduction of other superheroes (Voyd, Reflux, et al), a collection of outcasts who were inspired by Elastigirl and company and learned that their abilities don’t only make them special, they make them who they are. It’s not the most profound Pixar movie ever made, but not every animated kids film has to be a tearjerker like Inside Out. Sometimes being inspiring is enough.
What makes Incredibles 2 great is not just how touching or rousing it is, but also what an absolute joy it is to watch. The action, from Elastigirl chasing a runaway train to the whole climax with its expert command over simultaneous activities and creative use of a wide array of variable superpowers, is superbly executed and exquisitely animated. The comedy, including but not limited to Jack-Jack trying out his new powers and Edna Mode’s return, is hilarious. The jazzy, titillating, John-Barry-esque score continues to enliven what is already a thrilling, vibrant film. So many children’s movies content themselves with throwing together a string of interchangeable comedy scenes and hammering their morals in between the spaces that flow and pacing have practically become a lost art. This is a movie that flows. It moves so seamlessly from drama to comedy to action and back again and does it with such panache that the two hours completely breeze by. It takes a director of enormous skill and talent to make a movie that is constantly on the move, that includes so much action, story, and character, and to make it all seem effortless. Bird is such a director and Incredibles 2 was worth the fourteen years it took him to make it happen. Whether the next movie comes out tomorrow, in another fourteen years, or when I’m 150, I’ll be waiting.