INCREDIBLES 2 (2018)

June 12, 2018

 Greetings again from the darkness. In 2004 THE INCREDIBLES became the 6th Pixar film in a row to dominate the box office, and also the 6th straight to “WOW” us with a combination of animation, story, action and characters. All these years later, Brad Bird, the creative force behind the original, is back with the much anticipated sequel. Mr. Bird’s career over those years has featured a blend of other animation (RATATOUILLE, 2007) and live-action (MISSION: IMPOSSIBLE – GHOST PROTOCOL).

Bird is not the only returnee for the sequel. Also back is the entire Parr Family: Holly Hunter as Elastigirl/Helen/Mom, Craig T Nelson as Mr. Incredible/Bob/Dad, Sarah Vowell as Violet, Huck Milner as Dash, and Eli Fucile as baby Jack Jack. The story picks up not long after the original ended. “Supers” have been outlawed, and the Parrs are in some type of Super Protection Program – similar to Witness Protection. Of course when one is a superhero, doing the right thing just comes naturally, and the opening scene finds them battling their old nemesis Underminer (voiced by Pixar good luck charm John Ratzenberger, who voices a character in each of the studio’s films). Our heroes stop the crime, but cause significant damage to the city. This leads to our first social commentary when the powers that be scold the Parrs and inform them that the banks have insurance, and it’s cheaper to let the criminals get away so that the damage is minimized.

As superheroes non-grata, the Parrs try to go “straight” and live a normal life. That is until a powerful brother and sister corporate duo offer a proposal. Winston Deavor (Bob Odenkirk) and Evelyn Deavor (twist that pronunciation just a bit, voiced by Catherine Keener) want to generate a PR plan to help rebuild the reputation of supers. The idea is to make Elastigirl the public face of the program by having her wear a body cam to show off her heroic deeds (in this age of ‘pics or it didn’t happen’). She’s chosen over Mr. Incredible for economic reasons, and he’s relegated to stay-at-home parent (or as we called Michael Keaton in 1983, MR. MOM – an unacceptable sexist term these days).

Elastigirl enjoys her time in the limelight, while Bob doesn’t much like being just Bob. Plus he can’t understand why they changed math, as he gets frustrated trying to help Dash with his homework. He’s also challenged with Violet’s teen angst over a boy, and even moreso over the discovery that Jack Jack has POWERS! In fact, Jack Jack has multiple powers, but as a baby, he has little control – though his battle with a raccoon is not a segment you’ll soon forget.

Also returning is Frozone – voiced by Samuel L. Jackson (minus his trademark “MF’er), and costume designer Edna Mode – voiced by director Bird. Other new voices include (Odenkirk’s fellow “Better Call Saul” castmate) Jonathan Banks as Rick Dicker, Isabella Rossellini as the Ambassador, and Sophia Bush as Voyd, one of the new generation supers (which includes Reflux – one you’ll just have to experience).

The big new villain causing problems for Elastigirl is ScreenSlaver, who hypnotizes large groups of people through their screens – more social commentary on our dependence on technology and the addiction/affliction we have toward device screens. The flood of superhero movies over the years since THE INCREDIBLES exposes the not-so-complex story in this one, but it’s terrific that the film keeps much of the original look and feel, and yet brings something new … baby Jack Jack is a star!

Filled with the beautiful colors and art design we’ve come to take for granted from Pixar, the film also features some of the best action sequences you’ll see in any movie. The train sequence with Elastigirl is simply spectacular – as is the final action sequence. It’s also nice to see the flip in gender roles as Mom (Holly Hunter) takes the lead. Michael Giacchino returns as the composer and he blends in a touch of James Bond theme with his wonderful work. If the film needed extra credit (which it doesn’t), certainly the inclusion of a “Jonny Quest” clip would qualify. Family films don’t get much better than this, and even though it runs 2 hours, the closing credits feature the theme song for each of the superheroes, and could easily have been a short film unto itself.

Speaking of short films, a Pixar tradition is to include one before new releases. This time it’s BAO, a Chinese mother/son and food-oriented story from director Domee Shi (animator on INSIDE OUT)

watch the trailer:

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MUDBOUND (2017)

November 15, 2017

 Greetings again from the darkness. The Jim Crow South and WWII have each spawned many movies, and both play a crucial role in director Dee Rees’ (BESSIE) adaptation (co-written with Virgil Williams) of Hillary Jordan’s 2008 novel. It’s the story of two families, the Jacksons and the McAllans, striving for daily survival in rural Mississippi during the 1940’s.

The Jacksons are a black family tenant-farming on land owned by the white McAllans who transplanted from Memphis. This land is so remote and life here so hard, that tractors are almost non-existent and mules are rare enough. There is such bleakness to this existence that all seem oblivious to the ever-present mudhole leading to the front door of their shack. Rare elation comes in the form of a privacy wall constructed around the outdoor family shower, or the sweetness of a bar of chocolate. Soon after D-Day, Florence and Hap Jackson send their son Ronsel off to war. The same thing is happening across the 200 acre farm to Jamie McAllan, younger brother of Henry and son of Pappy.

A shifting of multiple narrators throughout allows us access to the perspectives of the key characters. We get both black and white views on war and farming. Their co-dependence on each other would never be admitted by either the Jacksons or McAllans. Days in war bring injury, death and dirt … not so dissimilar to life on a Mississippi farm. When Ronsel and Jamie return from war, they are both suffering. Ronsel can’t come to grips with how he was treated as a redeemer in Europe, but just another ‘black man’ being targeted by the KKK at home; while Jamie is shell-shocked into alcoholism and an inability to function in society. The parallels between the war experience of Ronsel and Jamie lead them to a friendship that ultimately can’t be good for either.

Jason Clarke plays Henry and Carey Mulligan, his wife Laura. Jonathan Banks (“Breaking Bad”, “Better Call Saul”) is the ultimate nasty racist Pappy, while Garrett Hedlund is Jamie. Rob Morgan and Mary J Blige are Hap and Florence Jackson, and Jason Mitchell (STRAIGHT OUTTA COMPTON) is Ronsel. While all perform well, it’s Mitchell and Hedlund who are particular standouts, as is a radio reference of the great Lou Boudreau. Rachel Morrison’s cinematography is terrific and captures both the hardscrabble life of Mississippi, but also the frantic and tragic abruptness of war (in just a couple of scenes).

Racism is always difficult to watch, and in that era, everyone had their place/plight in life. It was a structure built to ensure misery for most, and one guaranteed to collapse. The acting here is very strong and the film is well made. The story-telling is consistently disquieting and periodically unbearable. Still, we are all tired (or should be) of hatred. The somewhat hopeful ending caused an audible sigh of relief from an audience of viewers who had been angry and clinched for more than two hours. And though there is no joy in Mudville, we remain hopeful, even today.

watch the trailer: