REVIEW – “Incredibles 2”: An Incredible Sequel, with Some Forgivable Stumbles

By Joe Hammerschmidt

My first true love as a cinephile was with Disney’s animated works, going as far as Snow White, yet my history with the Pixar canon had always been more finite, and certainly more distinct. Each film is like a special event, attempting to track down the largest screen in the area on its first Friday, or the closest equivalent, and making every moment count, considering the talent and artistry behind their films is worth the added value, and often the wait in between films. As director Brad Bird and members of his cast reminded our screening audience earlier this week, in a prerecorded intro that will preface all showings, “it’s been a long time.” And waiting for a sequel like Incredibles 2, a film that many had thought wouldn’t happen, perhaps some even saying it wasn’t entirely necessary, it did feel like a long time, but it was worth the wait. Full disclaimer, anyone who considers that Return of the Underminer video game which followed the film two years later, 95% of that may no longer be canon, but of course the film does start with that fight teased in the final scene of its 2004 predecessor, from a time when superhero movies were still a bit of a gray area for moviegoers. So much has changed since then, so it’s quite likely the timing couldn’t be better for a slight return to basics.

Mr. Bird had spent a clear decade shepherding passionate projects in the realm of live action, with mixed results. His most recent, Tomorrowland, may be all but forgotten but this point, yet it’s still worth a healthy watch. Attempting to return to animation was a bit of a safe move; making an immediate sequel to his greatest achievement, even safer. But it’s certainly forgivable for the much-appreciated benefit of worldbuilding, creating a two-hour bombastic proclamation that aims not to outdo what the first round achieved, even with reuse of certain motifs. As mentioned above, the film picks up immediately from where I-1 left off, a random battle with a low-rent villain. Mr. and Mrs. Incredible, Bob and Helen Parr (Craig T. Nelson and Holly Hunter, respectively) have no trouble keeping their family in line, attempting to live a normal life while still technically under hiding for past incidents. Their most recent with the Underminer (still voiced by studio good luck charm John Ratzenberger) puts their likelihood in dire threat, for about four hours. Enter charismatic businessman Winston Deavor (an easily excitable Bob Odenkirk), a one-time fanboy, and current supers advocate. He’s not just wanting to live for the good old days, he’s too eager to bring them back. He does see the Parrs, along with compatriot Lucius aka Frozone (Samuel L. Jackson) his, and sister Evelyn (Catherine Keener) their best shot for a return to the form-fitting suits.

One can’t help but smile a little, the moment we see a pivotal role reversal, with Helen chosen as the lead representative while Bob stays home to keep the family from falling apart. She gets to meet a few new supers stepping out from the shadows, notably the shy dimension-shifter Voyd (Sophia Bush), and the ironically humorous fire corrupter (also among my high-school spirit animal rolodex) Reflux. With that also emerges an awkwardly developed, yet still hauntingly relevant baddie, a tech-obsessed individual known simply as Screenslaver, and whose moniker is essentially their job description, hypnotizing all who watch to deliver a transcribed message otherwise impossible to believe, or accept. And yes, while this antagonist is a little looser-fitting, far vaguer than the emotionally complex backstory of Jason Lee’s Syndrome back in I-1, their stance is equally menacing, if not a little quicker to the draw, despite a few rambling monologues determined to drill the narrative message down. Even if this baddie may not leave as much a lasting impression in the memory, their observable ideal leaves a heavy reflection toward what the media culture in the 60s really had its eye on, with fictional TV heroes dominating the airwaves; somehow still highly relevant today, even without thinking about it. Bird’s use of classic series had me smiling, if only for the point being illustrated in his cleverest manner.

Of course, Elastigirl is up to the challenge, and Hunter embraces that adventure in her vocal performance. Still one of her most iconic characters, and here after such a long hiatus (video games aside), it really shows. It’s essentially the Mrs’s story, not only playing the advocate role, but also an accidental hero to the rest of her fam. An easy joy to watch as before, yet with a little more time to leave a hard impact in the rise of more female-driven super stories. And all this, while blindly trusting Bob with the kids, as legendary as ever. When they do all get together, it’s with no wasted effort, always looking out for each other. Same cannot be said, at least equally, for the kids on their own. Rebellious speed-demon Dash (newcomer Huck Millner), who is not given much to work with this time around, is almost a wasted asset, despite a few clever one-liners. Eldest daughter Violet (Sarah Vowell) faces the usual high-school strife, a little moody, and a little bit miffed while rebounding a promising romance with popular guy Tony Rydinger, who makes a well-deserved comeback (unlike a certain babysitter). And toddler Jack-Jack steals the show at spots, finally earning the training he’s so rightfully earned for his myriad of special powers. They’re introduced in full, via one of the more comedic scenes of the whole picture, one that the kids will go nuts over, involving the baby and a renegade raccoon who immediately deserves his own spin-off short. It’ll make sense why in your own viewing.

This brings me back to elaborate a little further on where this sequel hits a slightly rough patch, the necessity of returning to certain motifs. The film opens and ends at around the same parameters as its predecessor, and we see plenty of callbacks that may either please or potentially frustrate the viewer. I shouldn’t be nitpicky, but it’s one of the small things worth noting. And most of the time, these small quirks, even the common Pixar in-jokes (such as the Pizza Planet truck, which I somehow missed this first viewing), they’re very welcome and quite crucial to reestablishing a mood considered long vanished. Distraction? Yes. Cozy framing device? Also, yes. A warm reminder of the film you’re watching, the one you’ve waited a very long time for? Very much so.

What I’m saying here is simple: Do not let the minor plot annoyances disrupt an otherwise golden cinematic experience. If there was any doubt over whether Bird still cared about this family, their values, and their legion of fans waiting in the wings, consider it squashed in a pure blaze of all-ages angst, action, and joyous enthusiasm toward a deserving IP. Incredibles 2 has arrived, it exists, and it deserves to stand on its own ground as much as I-1. Regardless of any unwarranted shortcuts Mr. Bird may seem keen on taking to get to the good stuff, all can be forgiven to protect the fun. You may go in with ease, knowing we may very well have on our hands, the year’s best animated feature to date, perhaps the year’s best superhero movie, and another complete Pixar masterpiece, with all the bells and whistles, plenty of laughs, though not as many feels as one could anticipate. But hey, it’s still, for all intents, one incredible ride. One that should be viewed on the largest screen possible, without hesitation. (A)

Note: The feels department is in full effect for the experimental short film attached to I-2, a quaint tail entitled Bao, directed by Pixar story artist Domee Shi, chronicling an empty-nester mom working through her feelings when a homemade dumpling takes the manifestation of her college-bound son. Words may not be able to describe the off-beat, heartfelt nature behind this considerable classic. It starts out simple but does get very real by the end. You have been warned. (A-)

Incredibles 2 opens in most area theaters this weekend; rated PG for action sequences and some brief mild language; 127 minutes, including the short.