The prevailing problem with Pixar sequels (and prequels) lacking “Toy” in their title is that they never feel like stories needing to be told, tales that will enrich our understanding of the characters and their larger world. I would much more gladly like a Monster’s Inc. sequel where Adult Boo is visited by her old closet-dwelling friends rather than an inoffensively cute prequel explaining how characters became friends long ago. The Incredibles universe always seemed like the one most demanding of a real sequel. Writer/director Brad Bird created a rich retro-futuristic world with numerous possibilities. I’m happy to report that Incredibles 2, while not soaring to the exact heights of its predecessor, is still a very worthy sequel that even manages to outshine the original in select areas.
Taking place literally seconds after the conclusion of the 2004 film, the Parr family fights together against the Underminer. The city, however, is none too happy about the collateral damage. Superheroes are still illegal. There’s no more relocation either. The Parrs are stuck, until a pair of billionaire siblings (voiced by Bob Odenkirk, Catherine Keener) reaches out to try and repeal the superhero ban. They want to position Helen Parr a.k.a. Elastigirl (Holy Hunter) for the public relations campaign (she causes a lot less collateral damage than her husband). Bob Parr a.k.a. Mr. Incredible (Craig T. Nelson) encourages his wife to go out and save the day, though he’s barely holding back his jealousy. He takes on the domestic duties, helping Dash (Huck Milner), moody daughter Violet (Sarah Vowell), and the young baby, Jack-Jack (Eli Fucile, reprising the role of voicing a baby, for real). A villain known as the Screenslaver is terrorizing the city and hypnotizing citizens through hijacked broadcasts. Elastigirl tries to uncover the mystery of the Screenslaver while Mr. Incredible tries to juggle the realities of stay-at-home parenthood.
Bird’s sense of visual inventiveness is still heartily alive and whimsically well in the medium of animation. Bird’s original film was an imaginative marvel with its intricate action sequences, some of which are the best in any medium, animated or live-action. He’s a choreographer of action that upholds the basic tenants of action, namely that if you have characters with special abilities, they should be utilized, along with attention toward geography and the purpose of the scene. It’s a genuine pleasure to watch well developed action sequences that go beyond flashy style, that account for mini-goals and organic complications. Take for instance Elastigirl’s motorcycle chase scene. It’s exciting as is but when the bike breaks apart, taking advantage of Elastigirl’s stretchy powers, that’s when it becomes even more gratifying and clever. There is a group of lesser super heroes that come out of the shadows thanks to Elastigirl’s heroics. At first they’re played for primarily comedic value, but Bird smartly turns them into a force to be reckoned with when they band together. I especially appreciate having a character with portal-manifesting powers and finding many opportunities to explore this unique power. When the film is humming with its visual energy and inventiveness, Incredibles 2 is a gloriously entertaining and satisfying action movie told by one of the best on the business.
The action is on par (no pun intended) with the first film even as the overall experience lacks the emotional stakes and depths of the first Incredibles. That should not be seen as some destabilizing deficiency as The Incredibles was a nearly flawless film (it’s my second favorite Pixar film after WALL-E). There were moments in the original film that transcended the superhero setting, where they Parr family felt like real people with real emotions and relatable stakes, like Mr. Incredible’s confession that he’s not strong enough to suffer the loss of his family. While Bird’s film made several homages to the James Bond cannon, there were real stakes. People could die. Many superheroes did, albeit mostly off-screen. This was Pixar’s first PG-rated film and that’s because it dealt with some heavy thematic issues in a mature manner. The bad guys weren’t like the movies, Helen Parr warned; they would kill children if given the chance. Incredibles 2 doesn’t have any real moments like that to cut through the whiz-bang.
This time it’s Elastigirl enjoying the limelight, and there’s a notable feminist message of a woman finally getting her due. She relishes the adventure though is willing to sacrifice it for her family if needed, which her husband will refuse to allow her to do. Her success is his success, he reminds himself. The sooner she succeeds the sooner he can also get back out there to fight crime. I think one of the reasons the characterization isn’t as developed this time is because of the abbreviated time frame. We’re literally picking up seconds from the first movie and dealing with the immediate consequences. We’re only following the events of a few weeks, maybe months at most, and while the Parr family undergoes trials and disappointments, It feels like maybe there just wasn’t enough space for the characters to have succinct arcs and grow substantially. This is a quibble for an otherwise great movie. Incredibles 2 still stay true to the characters you love.
The exploration of Mr. Incredible’s descent into domestic life was my favorite part of the film, and I had been worried it would be outdated Mr. Mom-style jokes. The movie steers away from most of the tired gender tropes, moving past simply having an incompetent man performing household duties in hilariously incompetent ways. The jokes aren’t dependent upon a man doing them so much as someone who feels out of step and beleaguered, so parenthood in general. The first movie was about midlife identity crises and that has carried over into this sequel as well. Bob has a meaningful challenge with each one of his children, having to re-learn old concepts with his son and adapt to new ones, having to tackle the minefield of dating with his daughter and finding the right tone, and the increasingly the demands of a child with, let’s call them, special needs. The Jack-Jack segments are inspired pieces of old school Looney Tunes slapstick. Each new power provides another point of discovery for our characters that, remember, are initially clueless about Jack-Jack’s amazing abilities. Mr. Incredible is so eager to get back to being a super hero that forcing him to confront his own inadequacies as a parent is a smart way to better open him up as a three-dimensional character. I enjoyed the action of Elastigirl’s spotlight missions but I kept looking forward to returning to the other Parrs.
In a few areas I would even say Incredibles 2 has its original beat, especially in the realm of comedy and visual inventiveness. Part of that is simply the advancement of the technology allowing Bird more freedom to up the ante as well as showcase more intricate facial emotions. There are some areas that just cannot compare, which is not to say that they are bad on their own. The late twist of the villain’s identity should be more than obvious for anyone paying attention. The themes of this movie are much hazier this time around. There are a few that pop up, like police surveillance and body cams, then a general screed against the general social malaise brought on from technology, then breaking unjust laws to serve a more realized sense of justice, and then finally the movie settles on what seems like its true theme, the danger of being too dependent on, essentially, government assistance. If the superheroes represent the government, the villain’s plot is to shake people away from waiting for the superheroes to fix everything and growing over reliant on outside assistance (finally a summer blockbuster with a message even Paul Ryan could love). Bird has featured some Randian ideals in past films, The Incredibles a prime example. My pal Ben Bailey strongly believes that the first film’s villain had the right idea though wrong method. Superheroes are by design egotistical. The belief that there are people who are better and deserving of a elite, preferential status seems antithetical with the sequel’s major theme. Or maybe it’s the mutated evolution of Ayn Rand’s sense of political objectivism. Feel free to debate at the kitchen table with your own family.
If the major fault of Incredibles 2 (there is no “The;” look it up if you doubt me) is that it can’t quite live up to the dizzying heights of the original, then that’s hardly a damning fault. In the 14 ensuing years, the superhero movie has become the dominant Hollywood blockbuster, and Bird needed to think long and hard about how his return visit would distinguish itself from a cluttered landscape of super heroics. Bird finds meaningful and interesting stories for both the “normal” version of his family unit as well as their super selves. Fans of the original should find more than enough to entertain themselves with even if the depth and characterization aren’t as wonderfully realized. There’s great comedy, great action, and great fun to be had with Pixar’s best sequel not with “Toy” in its title.
Nate’s Grade: A-
Kumail Nanjiani is a very funny guy but he also might just break your heart and then mend it. He and his real-life wife Emily Gordon met in Chicago and weeks into their courtship she was placed into a medically induced coma to combat a mysterious unknown infection. She could have died (spoiler alert: she didn’t), and months after she and Kumail married. It’s a very unconventional relationship story (boy gets girl, girl gets coma, boy and girl get together) and the basis of The Big Sick. This romantic comedy, written by Nanjiani and Gordon, was a smash hit at the Sundance Film Festival and is now expanding across the nation. This is a born crowd-pleaser, one of the funniest films in years, and a heart-warming reminder of the pleasures of rom-coms done well.
Kumail (Nanjiani) is a Chicago stand-up comedian trying to catch his big break. He falls for Emily (Zoe Kazan), a grad student in psychology. They try and keep things casual but cannot help growing closer to one another. Kumail’s traditional Pakistani family is adamant he marry a Pakistani girl, enough that there’s always one unexpectedly “in the neighborhood” during family dinners with their son. They would never approve Kumail marrying an American woman, and this stops him from introducing Emily to his parents. Kumail and Emily fight, break up, and it’s shortly thereafter that Emily is put into a medically induced coma. Enter Emily’s parents, Beth (Holly Hunter) and Terry (Ray Romano), who are thankful but wary of Kumail at first, feeling his attention is no longer required on the matter. As the days turn into weeks, Kumail finds himself growing closer to Emily and her parents in the process.
The Big Sick succeeds wildly because it gets the most fundamental principal of storytelling right: we care about the characters. Over the course of the film, you grow attached to Kumail and Emily and their very unorthodox situation. We want them to find happiness and, more importantly in a rom-com genre, we want them to find it with each other. The characters in the movie are beautifully rendered and relatable. Their faults and relationship troubles aren’t the stuff of contrived drama but recognizable differences and cross-cultural pressures of acceptance and disappointment. He may be a stand-up comedian, and she may have fallen into a coma for an unknown medical reason, but you will relate to both of these people. They don’t feel like archetypes. Even as Kumail is making amends for his mistakes the movie doesn’t paint him as a saint worth automatic forgiveness. Considering this was written by the real-life Emily, it should be no spoiler to state that she does eventually come out of that coma. Her life is automatically better and while Kumail has only grown more steadfast in his feelings for her, Emily was asleep. For her, it’s like moments after they broke up due to an incompatible future. She’s thankful for what Kumail has done but she doesn’t want to be with him. That’s the second act break, folks. A lesser movie would have Emily’s awakening serve as its climax and everything would be hunky-dory while an earnest pop-rock song would play over. With The Big Sick, the last act is dealing with the consequences of her coma, and Emily is allowed her agency once more to make decisions all her own. It’s easy to project a progression of romance onto a static being, but she needs to travel at her own speed and on her own terms. I won’t lie; the final act produced some meaty tears from me.
Another hallmark of Judd Apatow productions that I don’t think gets enough acclaim is the sheer generosity of the screenwriting. These movies spread out the love to a wide ensemble of characters that deserve consideration. There are stock comedy types that pop in for the occasional easy laugh, like David Alan Grier’s coked-out club owner or Kurt Braunohler as the painfully inept comedian, but as a whole The Big Sick offers a welcomed kindness to its larger cast. Even Kumail’s arranged dates are given the opportunity to come across like people, particularly Khadija (Crazy Ex-Girlfriend’s Vella Lovell) who is tired of not being able to enjoy what seems so easy for others. The fussy Pakistani family is played to be stern and uncompromising but they too have their moments. They are worried about losing their sense of culture through full assimilation, and they have an alternate view of family, one that involves self-sacrifice for the whole. The best additions to the movie are Emily’s parents. They don’t initially know what to make of Kumail but they eventually bond to him in different ways. Beth is fighting to control something out of her control and Terry is trying to keep everything calm. There is still lingering discomfort buried in their marriage from past indiscretions, and during times of crises it can reappear, forcing Kumail into an unexpected position. The movie’s sense of people is so warm-hearted and open, you just want to spend more time with them all, and it’s a simple yet beautiful pleasure to watch them connect.
Oh my lord is this movie funny too, which shouldn’t be a surprise for anyone who has seen Nanjiani’s standup routines before (extra points for not overly relying upon standup in the film for easy jokes). I was laughing from start to finish and there’s a consistent placement of jokes doled out in regular intervals. And when I was laughing it was the room-clearing guffaws. I can’t remember a movie in recent years that had me laughing as hard. Nanjiani’s deadpan is a thing of beauty and his comic timing is razor-sharp, and yet his sense of humor doesn’t detract from the weightier moments. Because the movie has such a heavy life-and-death backdrop, it’s important to have release valves for the audience, and that’s what the diligent comedy allows. It’s a bittersweet sense of comedy that doesn’t sacrifice the depth of character and the weight of the drama. In fact the least funny parts in the film are likely the standup comedy friends, though no fault to Aidy Bryant and Bo Burnham, both generally very funny people.
Nanjiani (TV’s Silicon Valley) is a pleasant surprise as a dramatic actor. There are some very dramatic moments when his character is unburdening himself of regrets, fears, and frustrations, and Nanjiani is terrific, pooling emotions you didn’t think were so readily available in his acting toolkit. He makes Kumail a likeable and charming man. There’s also an undercurrent of conflict avoidance, not wanting to upset his conservative family, which leads to holding onto secrets. It’s a flaw that provides an instant direction for character growth, going from avoidant to assertive. Kazan (Ruby Sparks) has the tougher job considering she’s sidelined for half of the movie. Her portrayal of Emily is winsome without falling into a dangerously quirky territory (no Manic Pixie Dream Girl). Thankfully, she’s allowed her agency after waking from the coma, and her scenes with Kumail afterward walk that delicate line of emotions that leave us hanging. Hunter (Batman vs. Superman) and Romano (TV’s Everybody Loves Raymond) are both wonderful. They serve as a form of Emily proxies and when Kumail grows closer to them, and they grow closer to him, it feels like this small support group is becoming an appealing team.
The Big Sick is a big crowd-pleaser, lifted to great heights by terrific acting, writing, and direction from Michael Showalter (Hello My Name is Doris). The director actually lampooned rom-com clichés in the hilarious satire, They Came Together, so having someone as instinctively skilled like Showalter guide the production helps steer away from the more expected genre moments. There are a handful of moments that feel pulled in from the Hollywood version of this story (Kumail’s big break timed with a very personal crossroads) but it mostly works on its own terms. These people are layered, allowed to be flawed and interesting human beings. It’s an unsentimental movie that finds ways to big emotions that feel completely earned. If you’re ailing for an enjoyable, funny, and heart-warming movie that respects your intelligence, try The Big Sick.
Nate’s Grade: A-
Batman and Superman have been a collision course for a while. The two most famous superheroes were once scheduled to combat in 2003. Then the budget got a tad too high for Warner Brothers’ liking and it was scrapped. Flash forward a decade and now it seems that money is no longer a stumbling point, especially as Batman vs. Superman: Dawn of Justice cost an estimated $250 million dollars. I wasn’t a fan of director Zack Snyder’s first take on Superman, 2013’s Man of Steel, so I was tremendously wary when he was already tapped to direct its follow-up, as well as the inevitable follow-up follow-up with 2017’s Justice League. You see DC has epic plans to create its own universe of interlocked comics franchises patterned after Marvel’s runaway success. Instead of building to the super team-up, they’re starting with it and hoping one movie can kick off possibly half a dozen franchises. There’s a lot at stake here for a lot of people. That’s what make the end results all the more truly shocking. Batman vs. Superman isn’t just a bad movie, and I never thought I’d type these words, it’s worse than Batman and Robin.
Eighteen months after the cataclysmic events of Man of Steel, Metropolis is rebuilding and has an uneasy relationship with its alien visitor, Superman (Henry Cavill). Billionaire Bruce Wayne (Ben Affleck) is convinced that an all-powerful alien is a threat to mankind, especially in the wake of the dead and injured in Metropolis. But how does man kill a god? Enter additional billionaire Lex Luthor (Jessie Eisenberg) and his acquisition of a giant hunk of kryptonite. Bruce runs into a mysterious woman (Gail Gadot a.k.a. Wonder Woman) also looking into the secrets held within Luthor’s vaults. Clark Kent is pressing Wayne for comment on this bat vigilante trampling on civil liberties in nearby Gotham City, and Wayne is annoyed at the news media’s fawning treatment over an unchecked all-powerful alien. The U.S. Senate is holding hearings on what responsibilities should be applied to Superman. Lois Lane (Amy Adams) is worried that her boyfriend is getting too caught up in the wrong things. Lex Luthor is scheming in the shadows to set up one final confrontation that will eliminate either Batman or Superman, and if that doesn’t work he’s got a backup plan that could spell their doom.
Let’s start with Batman because quite frankly he’s the character that the American culture prefers (his name even comes first in the title for a Superman sequel). Ben Affleck (Gone Girl) was at the bad end of unrelenting Internet fanboy-fueled scorn when the news came out that he was going to play the Caped Crusader, but he’s one of the best parts of this movie, or perhaps the better phrasing would be one of the least bad parts. He’s a much better Bruce Wayne than Batman but we don’t really get much of either in this movie from a character standpoint. There isn’t much room for character development of any sort with a plot as busy and incomprehensible as Batman vs. Superman, and so the movie often just relies upon the outsized symbolism of its mythic characters. We have a Batman who is Tough and Dark and Traumatized and looking for (Vigilante) Justice. We only really get a handful of scenes with Batman in action, and while there’s a certain entertainment factor to watching an older, more brutal Batman who has clearly given up the whole ethical resolve to avoid killing the bad guys, under Snyder’s attention, the character is lost in the action. The opening credits once again explain Batman’s origin story, a tale that should be burned into the consciousness of every consumer. We don’t need it, yet Snyder feels indebted to what he thinks a Batman movie requires. So he’s gruff, and single-minded, and angry, but he’s never complex and often he’s crudely rendered into the Sad Man Lashing Out. He’s coming to the end of his career in tights and he knows it, and he’s thinking about his ultimate legacy. That’s a great starting point that the multitude of live-action Batman cinema has yet to explore, but that vulnerability is replaced with resoluteness. He’s determined to kill Superman because Superman is dangerous, and also I guess because the Metropolis collateral damage crushed a security officer’s legs, a guy he’s never met before. The destructive orgy of Metropolis is an excellent starting point to explain Bruce Wayne’s fear and fury. I don’t know then why the movie treats Wayne as an extremist. I don’t really understand why there’s a memorial for the thousands who lost their lives in the Metropolis brawl that includes a statue of Superman. Isn’t that akin to the Vietnam Wall erecting a giant statue of a Vietcong soldier stabbing an American GI with a bayonet? This may be the most boring Batman has ever been onscreen, and I repeat, Ben Affleck is easily one of the best parts of this woefully begotten mess.
Next let’s look at the other titular superhero of the title, the Boy Scout in blue, Superman. The power of Superman lies with his earnest idealism, a factor that has always made him a tougher sell than the gloomy Batman. With Man of Steel, Warner Brothers tried making Superman more like Batman, which meant he was darker, mopey, theoretically more grounded, and adopted the same spirit of being crushed by the weight of expectations and being unable to meet them. Cavill (The Man from U.N.C.L.E.) was a Superman who didn’t want to be Superman, where dear old Pa Kent advocated letting children drown rather than revealing his powers (Father’s Day must have been real awkward in the Kent household). It wasn’t a great step and I wrote extensively about it with Man of Steel. The problem is that Superman and Batman are supposed to be contradictory and not complimentary figures. If one is brooding and the other is slightly more brooding, that doesn’t exactly create a lot of personal and philosophical conflicts now does it? It clearly feels that Snyder and everybody really wanted to make a Batman movie and Superman just tagged along. Superman clearly doesn’t even want to be Superman in the Superman sequel, often looking at saving others with a sigh-inducing sense of duty. He’s still working as a journalist and making moral arguments about the role of the media, which seems like a really lost storyline considering the emphasis on blood and destruction. He wants Superman to be seen as a force of good even if others deify him. That’s a powerfully interesting angle that’s merely given lip service, the concept of what Superman’s impact has on theology and mankind’s relationship to the universe and its sense of self. Imagine the tectonic shifts acknowledging not only are we not alone but we are the inferior race. We get a slew of truly surprising cameos for a superhero movie arguing this debate (Andrew Sullivan?) but then like most else it’s dropped. Clark is trying to reconcile his place in the world but he’s really just another plot device, this time a one-man investigation into this bat vigilante guy. The other problem with a Batman v. Superman showdown is that Superman is obviously the superior and would have to hold back to make it thrilling. We already know this Superman isn’t exactly timid about killing. The climax hinges on a Batman/Superman connection that feels so trite as to be comical, and yet Snyder and company don’t trust the audience enough to even piece that together and resort to a reconfirming flashback.
Arguably the most problematic area of a movie overwhelmed with problems and eyesores, Eisenberg’s (Now You See Me) version of Lex Luthor is a complete non-starter. He is essentially playing his Mark Zuckerberg character but with all the social tics cranked higher. His socially awkward mad genius character feels like he’s been patched in from a different movie (Snyder’s Social Network?) and his motivation is kept murky. Why does he want to pit Batman and Superman against each other? It seems he has something of a god complex because of a nasty father. He is just substantially disappointing as a character, and his final scheme, complete with the use of an egg timer for wicked purposes, is so hokey that it made me wince. If you’re going with this approach for Lex then embrace it and make it make sense. Late in the movie, Lex Luthor comes across a treasure-trove of invaluable information, and yet he does nothing substantive with this except create a monster that needs a super team-up to take down (this plot point was already spoiled by the film’s marketing department, so I don’t feel guilty about referring to it). If you’re working with crafty Lex, he doesn’t just gain leverage and instantly attack. This is a guy who should be intricately plotting as if he was the John Doe killer in Seven. This is a guy who uses his intelligence to bend others to his will. This Lex Luthor throws around his ego, nattering social skills, and force-feeds people Jolly Ranchers. This is simply a colossal miscalculation that’s badly executed from the second he steps onscreen. The movie ends up being a 150-minute origin story for how Lex Luthor loses his hair.
The one character that somewhat works is Wonder Woman and this may be entirely due to the fact that her character is in the movie for approximately twenty minutes. Like Lois, she has little bearing on the overall plot, but at least she gets to punch things. I was skeptical of Gadot (Triple 9) when she was hired for the role that should have gone to her Furious 6 co-star, Gina Carano (Deadpool). She didn’t exactly impress me but I’ll admit I dropped much of my skepticism. I’m interested in a Wonder Woman movie, especially if, as reported, the majority is set during World War I. There is a definite thrill of seeing the character in action for the first time, even if she’s bathed in Snyder’s desaturated color-corrected palate of gloom. Realistically, Wonder Woman is here to introduce her franchise, to setup the Justice League movies, and as a tether to the other meta-humans who each have a solo film project on the calendar for the next four years. Wonder Woman gets to play coy and mysterious and then extremely capable and fierce during the finale. One of the movie’s biggest moments of enjoyment for me was when Wonder Woman takes a punch and her response is to smile. I look forward to seeing more of her in action and I hope the good vibes I have with the character, and Gadot, carry onward.
The last act of this movie is Snyder pummeling the audience into submission, and it’s here where I just gave up and waited for the cinematic torment to cease. The action up to this point had been rather mediocre, save for that one Batman fight, and I think with each additional movie I’m coming to the conclusion that Snyder is a first-class visual stylist but a terrible action director. The story has lacked greater psychological insights or well-rounded characters, so it’s no surprise that the final act is meant to be the gladiatorial combat Lex has hyped, the epic showdown between gods. In essence, superheroes have taken a mythic property in our pop-culture, and Batman and Superman are our modern Mt. Olympus stalwarts. This showdown should be everything. The operatic heaviness of the battle at least matches with the overwrought tone of the entire movie. It’s too bad then that the titular bout between Batman and Superman lasts a whole ten minutes long. That’s it, folks, because then they have to forget their differences to tackle a larger enemy, the exact outcome that every single human being on the planet anticipated. I’m not even upset that the film ends in this direction, as it was fated. What I am upset about is a climax that feels less than satisfyingly climactic and more like punishment, as well as a conclusion that no single human being on the planet will believe. Snyder’s visual style can be an assault on the senses but what it really does is break you down. The end fight is an incoherent visual mess with the screen often a Where’s Waldo? pastiche of electricity, debris, smoke, fire, explosions, and an assortment of other elements. It’s a thick soup of CGI muck that pays no mind to geography or pacing. It’s like Michael Bay got drunk on Michael Bay-filmmaking. What the hell is the point of filming this movie in IMAX when the visual sequences are either too hard to decipher or something unworthy of the IMAX treatment? Do we need an entire close-up of a shell hitting the ground in glorious IMAX? The Doomsday character looks like a big grey baby before he grows his spikes. I was shocked at how bad the special effects looked for a movie that cost this much money, as if ILM or WETA said, “Good enough.” Once it was all over, I sat and reflected and I think even Snyder’s Sucker Punch had better action.
Another problem is that there are just way too many moments that don’t belong in a 150-minute movie. There’s an entire contrivance of Lois disposing of a valuable tool and then having to go back and retrieve it that made me roll my eyes furiously. It’s an inept way of keeping Lois involved in the action. How does Lois even know the relevancy of this weapon against its new enemy? Then there’s her rescue, which means that even when the movie shoehorns Lois into the action to make her relevant, she still manages to become a damsel in needing of saving. She feels shoehorned in general with the screenplay, zipping from location to location really as a means of uncovering exposition. Then there’s the fact that there is a staggering THREE superfluous dream sequences, and we actually get a flashback to one of those dumb dream sequences. The most extended dream sequence is a nightmarish apocalyptic world where Batman rebels against a world overrun by Superman and his thugs. There’s a strange warning that comes with this extended sequence of future action but it doesn’t involve this movie. Batman vs. Superman suffers from the same sense of over-extension that plagued Age of Ultron. It’s trying to set up so many more movies and potential franchises that it gets lost trying to simply make a good movie rather than Step One in a ten-step film release. In the age of super franchises that are intertwined with super monetary investments, these pilot movies feel more like delivery systems than rewarding storytelling. Payoffs are sacrificed for the promise of future payoffs, and frankly DC hasn’t earned the benefit of the doubt here.
I must return to my central, headline-grabbing statement and explain how Batman vs. Superman is a worse movie than the infamous Batman and Robin. I understand how loaded that declaration is so allow me to unpack it. This is a bad movie, and with that I have no doubt. It’s plodding, incoherent, tiresome, dreary, poorly developed, and so self-serious and overwrought to the point that every ounce of fun is relinquished. It feels more like punishment than entertainment, a joyless 150-minute exercise in product launching. By the end of the movie I sat in my chair, defeated and weary. Here is the most insidious part. Batman vs. Superman: Dawn of Justice obliterates any hope I had for the larger DC universe, let alone building anything on par with what Marvel has put together. If this is the direction they’re going, the style, the tone, then I don’t see how any of these will work. What’s to like here? “Fun” is not a dirty word. Fun does not mean insubstantial nor does it mean that larger pathos is mitigated. If you’re going to have a movie about Batman and Superman duking it out, it better damn well be entertaining, and yes fun. It’s not a Lars von Trier movie. The Marvel movies are knocked for not being serious, but they take their worlds and characters seriously enough. They don’t need to treat everything like a funeral dirge, which is what Batman vs. Superman feels like (it even opens and closes on funerals). This movie confirms all the worst impulses that Man of Steel began, and because it gutted all hope I have for the future of these oncoming superhero flicks, I can’t help but lower its final grade. Batman and Robin almost killed its franchise but it was in decline at the time. As campy and innocuous as it was, Batman vs. Superman goes all the way in the other direction to the extreme, leaving a lumbering movie that consumes your hopes. The novelty of the premise and seeing its famous characters standing side-by-side will be enough for some audience members. For everyone else, commence mourning.
Nate’s Grade: D
You’ve been there before. You know the drill. You’re staring up, mouth agape, at the multiplex’s list of new titles wondering what to see. It happens to the best of us. Who can you trust in these situations? Most people used to think they could trust Tom Hanks, but after his accent experimentation in The Ladykillers and The Terminal, not to mention his giant creepy mustache in The Polar Express (with accents!), that train of trust might have left the station. A lot of people felt they could trust an Oliver Stone movie, and, well, look how that turned out. No, moviegoers, the only trustworthy name that won’t let you down is Pixar. With hits like Toy Story and Finding Nemo you know that those computer wizards are looking out for you. Their newest work, The Incredibles, will keep Pixar alive in the moviegoer circle of trust.
The Incredibles takes place in a world where superheroes walk, run, jump in single bounds, and zip through the sky. They’re beloved and revered, with the super-strong Mr. Incredible (Craig T. Nelson) at the head of the pack. But then a fiend strikes more powerful than any dreaded super villain: litigation. A mountain of lawsuits pile up against superheroes, and the government disbands its programs and relocates all super-abled beings into new identities and homes.
Fifteen years later, Bob Parr, a.k.a. Mr. Incredible, has married Helen (Holly Hunter), a.k.a. Elastigirl, who can stretch her shape, which comes in handy keeping their two children in line. Dash (Spencer Fox) begs his parents to allow him to use his power of super speed, especially at his schools sports. Violet (Sarah Vowell), all long haired Goth angst, uses her power of invisibility to just disappear during school and other functions she feels she doesn’t fit. It seems the only member of the family fully adjusted and happy to a “normal” life is Jack Jack, the Parr’s infant son who may or may not develop super powers of his own. Bob feels crushed by the grind of office work and hiding what makes him and his family special. He escapes at nights with old friend Frozone (Samuel L. Jackson) and the two of them relive the good old days with attempted heroic acts. Helen catches on and they have a huge fight with the kids as witnesses. Helen explains to her family in the best way that she can that their days as superheroes are over. They have to adjust to a different life now.
Bob’s wanderlust is soon quenched when he receives a mysterious invitation from a beautiful, white-haired woman named Mirage. She offers Bob the chance to become Mr. Incredible once more, to use his gifts and abilities to stop a robot on the loose on some island. Bob leaps at the chance, hiding his ongoing super exploits from his wife, and regains a sense of purpose. He hasn’t been this happy in ages; however, it all comes to a head when he learns that Syndrome (Jason Lee), the one responsible for the run-amok robots, has other plans. Not only this, upon capture Mr. Incredible realizes that he has ties to Syndrome way back during one of his less-than-super moments.
Helen is shocked when she finds out what Bob’s been up to, but also partially relieved it’s not an affair. She visits their old costumer Edna Mode, whose glasses and black wig may be bigger than the rest of her shrimpy body. Edna has redesigned a team of superhero costumes, and with them in hand Helen becomes Elastigirl once more and takes Dash and Violet on a journey to save their father and become a family once more.
The Incredibles is a film bursting with entertainment. This is an explosion of imagination, of wit, of grand storytelling, that the audience should sit and soak up every loving and beautiful second of it.
The voice work is wonderful. I’m sure Disney execs were scratching their heads over Craig T. Nelson, but I cannot imagine anyone else that could deliver as much in the role. Hunter is excellent, as always, as a doting mother and crime fighter. Lee is great with a villainous role that has a lot more depth to it than near any live-action film. His verbal gymnastics are perfectly suited for a slighted super villain.
Writer/Director Brad Bird’s first feature was the 1999 masterpiece, The Iron Giant, which I consider the finest animated film of all time (you heard me, Walt). Bird’s first film was a masterful mixture of little boy fantasy, reality, strong characters, humor, and excuse-me-there’s-something-in-my-eye tenderness. I know many people who, after seeing The Iron Giant, say they were, “crying like they watched a puppy get hit in the face with a shovel.”
With this being said, my trust in Bird as a master storyteller is still there. The Incredibles is the first Pixar film concerning real people, not just toys, ants, fish, monsters, and, uh, more toys, and the results are astounding. This is a film rich in complexity, human insights, family warmth, and, again, realism. Bird has fully realized The Brady Bunch of superheroes. They feel just as flesh and blood as any characters I’ve seen in any film this year. They have desires, secrets, shame, guilt, anger, burdens, pride, and above all, love. I mean, how many animated films have an actual subplot involving marital suspicion? You won’t find that in The SpongeBob Squarepants Movie. When Elastigirl and the kids go off to save her heroic hubby, she has a sit-down with her children and warns them that, yes, death is very real, and that these people will indeed kill them if discovered (this is the first PG-rated Pixar film, by the way). It’s a great moment that reminds you how much you care for these people.
Bird’s imagination seems incomparable. He has a razor-sharp feel for comedy, like Elastigirl’s scene caught between several sliding doors or the lively, hysterical Edna Mode personality, but he also possesses the ingenuity for crafting some of the most exciting action sequences in a long time. The Incredibles has uncanny action scenes, set to Michael Giacchino (TV’s Lost) blazing jazz score, which should make the James Bond producers die from envy.
Bird has created a stupendous action film, a heartwarming family drama, a hilarious comedy, and a gorgeous film to watch. Movies rarely get this entertaining, but for Pixar, it’s all just part of the norm. I hope someday we don’t take Pixar’s accomplishments and staunch consistency for granted, because they aren’t just reinventing what animation can do, they’re also reinventing what films themselves can do. You can have all the accents you want Tom Hanks; I’ll gladly take The Incredibles and its bounty of offerings.
Nate’s Grade: A
No one said being a 13-year-old was easy. Tracy (Evan Rachel Wood, a dead ringer for a young Jennifer Garner) is a straight-A student living with her mother Melanie (Holly Hunter, nominated for an Oscar). Her family fights to get by with Melanies at-home hair salon. People, usually accompanied by wee kids, stroll in and out of their house like it was a bed and breakfast. Melanie’s previous boyfriend Brady (Jeremy Sisto) has sobered up and settled back into her life, despite Tracy’s wishes.
Evie (Nikki Reed, who co-wrote the film with the director) is that cool girl at Portola Middle School. Tracy desperately wishes to join Evies inner sanctum of friends, enough that shell steal the pocketbook of a stranger to impress Evie. Tracy is taken under Evies wing and learns how to flirt, dress, dance, kiss, and terrify her mother. Melanies concern is a slow simmer, but she cant ignore all the signs of what is happening momma’s little girl. The girls revel in bared midriffs, body piercing, and gallons of shiny make-up. Evie lives with her guardian Brooke (Deborah Kara Unger), herself a sad woman ravaged by booze and pills. When she tells Melanie that Brooke beats her, the maternal instincts overpower her concern. She invites Evie to stay with her family. Evie even calls Melanie mom. More disintegration of Tracy follows.
Thirteen does exhibit a rare maturity in the displaying of teenage emotions, namely the pull to belong. It also pays incisive attention to our consumer society marketing teen sexuality and the implicit effects. Thirteen creates a more realistic teenager by showing the vulnerability that’s inherent in growing up.
Wood gives a strong performance as her character descends from goodie-good to teen vamp. Her square jaw and lanky frame are physically perfect at displaying a natural young awkwardness. She looks like a teenager I’d see on my block, not what Hollywood is trying to tell me. Wood gets a tad drunk on her characters emotions, like a scene where she tries to scare her mother by lurching forward and cooing, “No bra. No panties.”
Hunter’s depiction of Tracy’s mother is out to lunch about her daughter. This makes the character seem earnest yet stupidly naïve, and after the 200th request of we need to talk is met once again with a closed door, the audience begins to think that Melanie has some deep-seated issues herself.
The direction by first timer Catherine Harwicke starts off as annoying with self-gratifying camerawork. The handheld camera swoops in and out attempting to establish a fluid realism. She also utilizes muted or exaggerated colors to express Tracys highs and lows. What started as self-congratulatory direction actually warmed me over, and I began to take notice of how lovingly Hardwicke stuffs her frame and utilizes lighting. It seems like she could have a career ahead of her as a director.
Though the acting is strong and the direction grows on you, Thirteen never really rises above its ilk of cautionary tale. It’s your basic story set-up of good girl meets bad influence, gets bad, distances family and old friends, experiences highs and then crashing lows, usually capped off with some kind of lesson learned. This is Thirteen in a nutshell. Tracys change from good girl to pubescent trash occurs at an unbelievably fast speed.
You could make an argument that the film is trying to be daring and shocking, but this whole ”what’s wrong with kids today” routine has been done better in lesser films, like Larry Clark’s Kids. Even though Clark has a fixation for lingering on nubile bodies, his film portrays wayward teenagers and their hedonistic behavior without the constraints of trying to frame sympathetic characters. Thirteen hedges its resources; it cant be fully shocking if it keeps trying to make us like the characters, thus giving glimpses of remorse and doubt. In today’s world, I dont think its shocking anymore to see 13-year-olds engaged in drugs and sex, especially after witnessing kids killing kids in the brilliant City of God earlier last year.
Thirteen is a noble effort but fails in any attempt in functioning as preemptive wake-up call. The acting is quite capable (Wood appears to be headed for junior star status) but the film is ultimately unimpressive. Perhaps the only way to be shocked by this movie is if you’re a negligent parent with a disposable income. It would be worth a rental, but there’s nothing overpowering enough in the film to justify full movie ticket price. While I was watching Thirteen I kept recalling a piece of dialogue the grandfather in Fargo said: You let him go to McDonalds at this hour? They do more than drink milkshakes, I guarantee you that. In the end the message of Thirteen is simply this: one bad apple can spoil the bunch.
Nate’s Grade: C+
Loosely based on Homer’s The Odyssey comes the latest from two of the most talented and imaginative minds working in the business. ‘O Brother’ has all the things that go into making a good Coen brother film. It’s full of Coen regular like John Turturro, John Goodman, and Holly Hunter among others. It includes elements of wackiness like a KKK color Guard rally where they march into spelling KKK. It even has the great wit with dialogue being handed over to the overly verbose leader of the gang on the run Ulysses Everett McGill (George Clooney looking and sounding like Clark Gable). On top of this you get a wonderful blue grass soundtrack that is selling surprisingly phenomenal, and cinematography that is astonishingly beautiful. Yet, with all these positives, O Brother Where Art Thou? is a mid-level Coen movie. The comedy of the film is missing a lot when it should be there, replaced with pretty images or very pretty songs. Still, a mid-level Coen brother’s movie is much better than most anything out there today. It seems to aim to be a pleasant movie, and it achieves that finely. O Brother is a fun experience with the right person but not necessarily something that has a lot of rewatchability. Especially if you have bought the soundtrack.
Nate’s Grade: B