Incredibles 2 (2018)

The_Incredibles_2.jpgPleasant surprises abound in Incredibles 2. What is supremely evident is that Brad Bird still has a pulse on quality storytelling just as the overall animation is blessed by the continual technological advancements in the medium.

Here we are picking up right where the previous film left off with the Parrs donning their disguises to face off against the Underminer to save the city. It works seamlessly as an opening gambit even if it has little bearing on the subsequent plot.

Regardless, it plays like a bit of wish fulfillment and yet somehow we must begrudgingly admit the encompassing magic has somehow left the material. We can never get back the unassuming success of The Incredibles now that it returns as a blockbuster juggernaut. Still, what isn’t lost is the retro cool or the equally frosty camaraderie provided by Frozone (Samuel L. Jackson). Then, the long-awaited return of Edna Mode follows which is equally satiating though far too short.

The creme de la creme was witnessing the full extent of Jack Jack’s immeasurable powers. You can tell the Pixar team has a blast exploring his full potentials and they really hit it out of the ballpark to realize the open-endings they left themselves in the original movie.

However, the film also begins its new chapter by introducing a brother and sister power duo, Winston and Evelyn Dever (Bob Odenkirk and Catherine Keener), who are looking to rebrand the superheroes and sway public opinion to get them reinstated.

Since we still live in a world wary of supers, this is a chance to right the ship and allow the Parr family to exhibit their powers without fear of public backlash. Despite everything they’ve been through as a family, what becomes increasingly apparent is how circumstances haven’t changed much. This is where the new chapter really begins.

On the homefront, they agree Ellen will dawn her Elastigirl attire once more as Bob is faced with the harrowing task of taking care of his children. Jack Jack is literally a bouncing fireball of energy. Violet is having boy problems. Dash is struggling with The New Math without his mother’s instruction. All these issues fall on the man of the house now.

Meanwhile, on the outside, Elastigirl must track down a criminal mastermind, The Screenslaver, who is using television screens to mesmerize audiences through some ultra high-tech form of mind control. But as this is a film full of media and PR tactics, it seems convenient this is all part of a broader conspiracy to discredit supers for good. It’s meeting the Deavor’s plan in an equal and opposite direction — with nefarious implications.

Villainy is always a sense of someone with convictions they believe to be true ultimately getting twisted in ominous ways. It’s easy enough to discern who the culprit is but we can hardly hold it against the narrative.

The story culminates at a summit to promote goodwill between benevolent authority (Isabella Rossellini) and the supers. However, as the result of wide-ranging tampering,  any projected trailer-worthy moments from our three favorite superheroes are essentially killed in a dastardly attempt to sink negotiations.

But what it does do is provide a platform for the Parr kids to strut their stuff. It seems fitting the final act belongs to them following their mother’s ascension to the starring role for the bulk of Incredibles 2. It is the best reminder that the series was always a family affair and far from being just another superhero movie, it was a family movie first and last.

Still, I cannot help but feel something is eerily amiss. Yes, if we reach back into our memories from where we left The Incredibles before it does feel gratifying to add another chapter to their story.

But like Finding Dory from only a few years ago, there’s such a big gap between the chapters, a certain amount of detachment sets in, especially since we are expected to pick up right where we left off. Toy Story 3 takes into account the fact we have matured over the last decade and change.

These newer entries seem to take it for granted that we are near the same places we were years ago. Granted, I understand it’s all but necessary with where we left the Parrs. Still, in a young person’s life seismic shifts have occurred and so if Pixar’s stories have not changed, it feels odd since we have changed so much. We are more out of touch with the content. Maybe we have even moved on.

And yet even as these stories operate as if nothing has changed, there are small things that do feel different. It’s nitpicky to admit but we have a new Dash and other slight changes in the original continuity. True, the Supers were all decimated by the threat of Syndrome but there are really no tie-ins to the heroes of old — I’m talking about the supporting crew aside from Mr. Incredible, Elastagirl, and Frozone.

Because we get this new batch of superheroes who in some strange way feel out of place and we have no reason to like or even care about them. Is this overly harsh? Perhaps but it comes from a space of deep affection for what The Incredibles was able to imbibe and so anything else added to the canon is going to come under a lot of scrutiny.

Where it counts The Incredibles 2 is a worthwhile outing with flashes of nostalgia that can easily pass for rediscovered thrills. Filled in by the stellar, fresh animation and Michael Giaccomo’s score, it might be easy to claim contentment.

That doesn’t mean we cannot still hang on to some of our minor qualms. Because if anything they remain as a testament to how special the original installment was and that is not necessarily a bad thing. It just means we can cherish the first film even more.

4/5 Stars

Avengers: Infinity War (2018)

Avengers_Infinity_War_poster.jpgEntering into the latest Avengers blockbuster I felt like I was missing something thanks to a cold open that places us in an unfamiliar environment. That’s a feeling that has come upon me on multiple occasions previously.

Not only because as a mild enthusiast I’ve missed a stray entry here and there but I also easily forget interconnected events and after a certain point, why bother? We have come to accept that there will always be another Marvel movie.

Yes, this is the culmination of 10 years that began inauspiciously with Iron Man in 2008 only to balloon into a skyrocketing phenomenon that will not disappear any time in the near future. Superheroes like Iron Man, Captain America, Thor, Hulk, and so many others have reemerged as integral parts of the public consciousness. And many fans have been waiting with baited breath for this day and they will wait again and again for future movies like it. That’s an established fact. Regardless, they can breathe a sigh of relief and thoroughly enjoy themselves with this realization of all their dreams up on the big screen. It will hardly disappoint.

To describe the plot of Infinity War is almost arbitrary as SPOILERS in this day and age are guarded against like the plague but here is a nibble anyway. Thanos (Josh Brolin), a being who has long been alluded to, is finally on the scene. The opening sequence is a microcosm of what he hopes to do on a cosmic scale, leveling half of the remnant left over from Asgard.

As a supervillain, he has a vision for the world that’s not too unbelievable. He seems to have been acquainted with Thomas Malthus’ work (even unwittingly so) while holding a contorted view of what empathy is. What others term mass genocide he deems an indiscriminate mission of mercy — killing half the universe’s population will mean resources are more widely available for everyone else left alive. He proves to be one of the most interesting characters within the narrative for the very fact that we have barely met him before.

Infinity Stones also become of utmost importance again as Thanos must add them to his collection so he can rise to the stature of a demigod and dictate the outcome of all life with the snap of his finger. That’s some kind of power! The stones themselves are exquisitely color coordinated. One is safeguarded by Dr. Steven Strange (Benedict Cumbertach), another is implanted in Vision (Paul Bettany) and fiercely protected by his girlfriend the Scarlet Witch (Elizabeth Olsen). The Soul Gem brings Thanos back in contact with his two stepdaughters Gamora (Zoe Saldana) and Nebula (Karen Gillan) with grave consequences.

Everyone else who makes an appearance (and at times a lightning-quick cameo) relies on a viewer’s running tabulation of everything up until this point in the MCU. And though you’ll probably enjoy seeing these characters that you have some familiarity with — and you even laugh throughout — there is a sense that they are only vague contours. There are too many of them for the resonance to run deep and personal. It really only works if audiences have bought into the machine and already have some background with these heroes in place. The scarier thought is if viewers do not. Infinity War would be void of any meaning. All flashes of imagery, destruction, and hyper-frenetic editing. Any other actual amount of personality would be absent.

Some people live and others die but to confess that I didn’t much care that any of these characters perished is one of the most unfortunate realities of the movie. It’s not that I know they are coming back necessarily or anything of the sort. I admit to being fickle. I can’t remember why I should care about these characters. Because for some so much time has passed since I had any connection with them. To watch them become collateral damage has little resonance with me. I’m numb to it.

I won’t make allusion to archetypal literature like Hamlet or film references like Star Wars or Harry Potter because in some ways that would denigrate that material. Am I being a bit harsh? Perhaps I am. In fact, it was Hary Potter and The Deathly Hallows (2010) that we have to thank for this current reality followed close behind by The Hunger Games and The Hobbit. Stories like these coincidentally begun the practice now popular in the industry.

It was no longer about simply having sequels but milking a movie for all it was worth — breaking them up into pieces — making films that were meant to be a part of a greater whole.  It’s not a film so much as a commodity. Differing from the earlier examples like The Godfather movies or even The original Star Wars trilogy — those were pictures that very much could stand on their own merit. Not that they were not enriched and more fully realized with their later installments but we could consider them alone.

Infinity War comes out of this philosophy where a film was never meant to be taken by itself. Everyone knows it. The producers, the directors, the actors, and the audience.  By now as a collective assemblage of viewers, it seems like we’ve been cowed into submission.

I for one watched the movie and never quite relished it — there was nothing all that new or novel — and yet I was never bored per se. However, even my newest favorite superhero Black Panther felt like he was now fit into the Marvel mold. Nothing surprised. Nothing ignited a deep-seated exhilaration inside me. A Stan Lee cameo comes and goes.

Though the picture does promise action and verbal sparring which it delivers handily. In fact, if you consider the screenplay by writing duo Christopher Markus and Stephen McFeely, they do an admirable job with both the monumental juggling act and crosscutting of multiple storylines. The same can be said for the other dynamic duo directing, brothers Joe and Anthony Russo who must perform the same type of orchestration that would have buried a single director in his grave.

Still, there is an uncanny feeling that the picture is made up of two kinds of scenes. You have action sequences packaged nicely with all the trimmings and CGI to your heart’s content. Then you have in contrast many stagnant sequences with all these big names standing around in a single location talking it out usually over some point of conflict, sprinkled with a few jokes or exposition that feels all too familiar. The well-timed comic relief disguises how run-of-the-mill everything is.

That’s what’s Marvel has in many ways perfected. In that regard, there’s nothing lacking and if that’s what you signed on for now 10 years ago (without even realizing it) it takes little hesitation to say that you will be satiated at least until the next Marel movie and the next installment of Infinity War in a year’s time.

However, I couldn’t help but leave the experience feeling slightly lackluster about the affair. Because in many ways Infinity War is the culmination of a generation of films and really the emblem of where Hollywood continues to head. Sure, we have yet to get the second half of our story but if this is any indication of what we have to look forward to in the future, it does look like a fairly blasé fate at that. Though the jokes and the pyrotechnics are present in full force, there is little magic — that certain amount of intangibility that lifts entertainment above the mediocre and allows it to capture our imaginations. My only question is — as someone unread in Marvel comic literature — what could the Deux ex Machina possibly be?

3.5/5 Stars

 

 

The Incredibles (2004)

 

The_IncrediblesCertain superhero storylines are beginning to overstay their welcome. Spiderman, The Fantastic Four, and even The Avengers spring to mind. The remarkable thing is the fact that this wildly popular genre headlined by numerous wildly popular franchises does not appear to be leaving us anytime soon. And when the prospects of monotonous superhero film after monotonous superhero film get a little too much, it’s rather comforting to return to The Incredibles. Yet again Pixar proved they knew how to craft animated films with great storytelling, but also a depth of character.

Over a decade ago now Brad Bird helmed a project that would introduce us to a very different batch of superheroes. Yes, they began as individuals named Elastigirl and Mr. Incredible, but soon enough they ceased being that. But these weren’t a ragtag alliance like the Avengers or the Guardians of the Galaxy. They were something perhaps more broken and complicated – a family.

Back in the glory days, the superheroes were civil servants held in high regard – one of the foremost of those being Mr. Incredible (voiced by Crag T Nelson), but they soon fell out of favor due to scandal and public controversy. Thus, they drifted into obscurity and their aliases quickly became their real life.

This is where this story gets interesting, as Bob and Ellen Parr, as they are known now, are living life with three kids. Ellen (voiced by Holly Hunter) is happy to give it a go and live the normal everyday existence, but Bob yearns for something more than rush hour traffic and a cramped cubicle in a thankless job. And when he gets a mysterious message with mission impossible-like implications. He is indubitably intrigued.

He begins moonlighting again, sneaking around behind Ellen’s back not wanting to needlessly worry her. He touches bases with his old friend and colleague Edna Mode (Bird himself), who supplies him with a new super suit sans cape. It’s just like old times with the super getting the respect he once garnered from everyone, and his family is happy and healthy. Everything is looking up.

But of course, behind these missions of his is something a little more sinister than he could have ever imagined. Of course, when his wife catches wind of it she expects something completely different – their marriage must be failing. That’s the only possible reason for him sneaking around.

Thus, mother and two stowaways head to a volcanic island smoldering with destructive peril. Mr. Incredible meets his match and is brought low as his past mistakes finally catch up to him. He realizes his weakness and more importantly how much his wife means to him. He could not go on without her. However, his wife and kids do not wallow in their predicament as they try and save the world from the dastardly deeds of the begrudging supervillain Syndrome. It’s in this final showdown that Mr. and Mrs. Incredible are back in their element with their compadre Frozone (Voiced by Samuel L. Jackson). Except now they are joined by their speedy son Dash and their invisible, force-field wielding daughter Violet, who both feel confident in their skin.  A giant mechanical robot is no match for such a crew, especially when they’re a family.

True, these characters have superpowers and special abilities, but then don’t we all in some way, shape, or form? This is a story about the nuclear family when that dynamic is blowing up, and a story about being comfortable in your own skin, in a society that often makes that difficult. So Pixar does the seemingly superhuman yet again by delivering up a popcorn-action-adventure-family film, that still somehow holds up to multiple viewings. It’s retro cool, quotable, and gives its voice actors space to gel. They breathe life into this story, while their contours come alive on screen. It’s a childhood favorite and for a very good reason.

4.5/5 Stars

Pulp Fiction (1994)

53f76-pulp_fiction_coverStarring a cast including John Travolta, Samuel L. Jackson, Uma Thurman, and Bruce Willis, this Quentin Tarantino crime film tells the somewhat inter-related stories of these four main characters. Travolta and Jackson are a pair of hit men who have several adventures having to do with retrieving a briefcase, disposing of a dead body, and eating breakfast at a diner. Separately, Travolta has a somewhat harrowing outing watching the wife of his boss (Thurman). Willis on the other hand does not throw the boxing match he was suppose to. Thus, he finds himself in hiding with his lover, facing his own set of problems. I do have to say this film was interesting because of the nonlinear format almost like chapters. The eclectic pop culture references were classic along with some of the dialogue. However, it gets tiring listening to the strong language and a scene or two are worth skipping in my mind.

4.5/5 Stars