Incredibles 2

2018, Uncategorized

Dir. Brad Bird

Starring: Craig T. Nelson, Helen Hunt, Sarah Vowell, Samuel L. Jackson, Huck Milner, Catherine Keener, Bob Odenkirk, Eli Fucile, and Sophia Bush.

It’s hard to believe that it’s been 14 years since the first incredibles film was released back in 2004. Considered by many one of the best super hero movies ever made, the exploits of the Parr family were an instant classic, so it’s a surprise that in a world where we’ve had 3 Cars movies, 3 Toy Story movies, a sequel to Monsters Inc. and a sequel to Finding Nemo, that it’s taken this long. That’s mainly down to writer and director Brad Bird, who has been spending his time in live action, having directed Mission Impossible: Ghost Protocol and Tomorrowland in the years between. He returns here, bringing his retro-futuristic style back to the big screen. A cynic would say that it’s a safe move after the box office failure of Tomorrowland, but I’d like to believe he felt he had a good enough idea to warrant going back.

Incredibles 2 starts exactly where the first film left off. With Underminer attacking the city, and the Parr family suiting up to stop him. It doesn’t go perfectly, and the Parrs’ get a wrap on the knuckles as they are reminded that superheroes are illegal. Dejected, the Parr family go back to motel living whilst Bob contemplates taking back his old job. This is when Winston and Evelyn Deavor show up. The brother and sister duo behind a huge tech company who want to help legalise heroes again. To do this they require Elastigirl to be the new face of supers. She wreaks the least amount of havoc during her heroics. So whilst Helen Parr is off fighting crime as Elastigirl, it’s up to Bob to look after the kids, including baby Jack-Jack whose powers are just starting to emerge.

Structurally, Incredibles 2 follows the same format as the first movie. The premise here though is the role reversal between Bob and Helen. This time it’s Bob left at home, and Helen is the one who gets to shine as a superhero. Bird deftly cuts between the two, finding a sweet balance between huge action sequences and domestic comedy. If the structure is familiar, it does allows for new avenues to be explored. In the first movie Helen’s domestic story revolved around believing Bob was having an affair, here though Bob has to learn to set aside his own pride to allow his wife to shine, and work out that sometimes a subtler approach to parenting is needed. Helen’s action beats could be considered as more of the same superhero antics, but Bird changes the tone here from the first film. Elastigirl is a different kind of hero from Mr Incredible, and the tone reflects that. She uses her brain as much as her powers, and her action beats have more of a Batman influence to them, especially a night time scene which combines the best of The Dark Knight and Batman: The Animated Series.

If the action sequences thrill, the thing that holds the film together is the comedy. The film really soars when the super heroics are combined with everyday family life. This is best summed up when Jack-Jack meets a raccoon. It’s action packed and hilarious, by far the stand out scene in the movie. In a way though it showcases the fact that Incredibles 2 doesn’t quite hit the very high watermark of the first film. Helen is on her own doing the super heroics, and Bob’s parenting, especially of Dash and Violet, is rarely informed by their powers. The scenes with Jack-Jack stand out so much because they flawlessly combine domestic life with super powers.

As we’ve come to expect from sequels the roster of heroes is expanded. We get to meet the new superheroes at a dinner party, which is reminiscent of Watchmen. The disappointment is that they don’t really add much to the film. The only one that stands out is Voyd, who seems to have been modelled on Kristen Stewart. It feels like a slightly wasted opportunity. The villain is suitably different enough from the first film, coming across as a mix between Bane and The Riddler, but is let down by a telegraphed end of second act twist, which is almost identical to the first film.

Incredibles 2 is a fantastic super hero movie. The action is fun, and the jokes are hilarious. It’s flaws are only exposed by the fact it has to measure up to The Incredibles, one of the best super hero movies ever made. If the structure feels slightly tired, it does add plenty of new ideas and tones, some work, and some don’t. It doesn’t plum the emotional depths that we’ve come to expect from Pixar, but is nonetheless a thoroughly entertaining ride.

7/10

Isle Of Dogs

2018, Uncategorized

Dir. Wes Anderson

Starring: Bryan Cranston, Koyu Rankin, Edward Norton, Bob Balaban, Bill Murray, Jeff Goldblum, Kunichi Nomura, Greta Gerwig, Frances McDormand, Akira Ito, and Scarlett Johansson.

It seems almost trite these days to describe yourself as a Wes Anderson fan. The director moved from cult hero into the mainstream with his last movie The Grand Budapest Hotel. The director is almost a genre unto himself now, his films defined by their unique visual style, dead pan delivery of dialogue, and Anderson’s ever expanding troupe of actors. Isle Of Dogs isn’t the first stop-motion animation Anderson has made either, his last one being Fantastic Mr. Fox. For any other director these films would be experiments, or oddities in their CV, but Anderson’s sensibilities lend themselves to the format.

Isle Of Dogs is set in a futuristic, fictionalised version of Japan. An outbreak of dog flu, which is threatening the human population, forces Mayor Kobayashi to exile all the dogs to Trash Island. The place where all the cities garbage goes. The first dog to head over is Spot, the Mayor’s Nephew’s Dog. His Nephew, Atari then steals a plane to fly to Trash Island to rescue his dog, being helped along the way by a pack of alpha dogs.

This movie is a complete joy. I was slightly sceptical going in, I wasn’t sure how much I would get out of the format, or if Anderson would skew too young to hold my attention. I shouldn’t have worried, I was in a safe pair of hands, and the film is captivating and engaging throughout. It feels odd to say, but I believe that this is a film that deserves to be seen on the big screen. The level of detail gone into creating this world is stunning, and the film looks gorgeous. Wes Anderson directs his live action films as if they exist in a dolls house, and this style with way in which depth is used, and the way the camera moves in his film, is an ideal match for stop-motion. If anything it expands Anderson’s vision, allowing him to make a film more epic in scope.

It’s primarily a kids film, but there is a deeper, darker heart to it. It has an emotional core that you’d expect from a film about a boy looking for his lost dog, and whilst the dead pan delivery of Anderson’s cast doesn’t immediately lend itself to cutting straight to the heart, Anderson has crafted a deeply moving film about love, belonging and loyalty. There is darkness here though, which is far from cookie cutter. There are themes of genocide, conformity, and political manipulation, which when paired with the history of Japan brings out a deeper meaning. The kids might not understand it, but there is more going on under the surface of this film than it first appears. It’s this darkness which robs the film of its charm in the final act of the movie. The jokes and humour give way to something more serious, slowing down the pace, and ultimately causing it to drag.

There has been some debate about the film regarding Orientalism. It didn’t bother me at the time of watching, but the more I think about it, there is something there . There is a lot of affectionate homage, and this is a fictionalised Japan which does mean liberties are taken. If there are controversial moments, they hold no intent. There are two creative decisions which grate the most. The first is the fact that unless someone is there to translate, the Japanese language goes unheard and ignored. If they could put subtitles down for signs, they could have put subtitles for the Japanese, it’s a cute creative decision to have other characters translate the news segments, but it turns the other moments the language is used into meaningless nothing. Making it a secondary language. The other element which grated was Greta Gerwig’s foreign exchange student. In a film full of Japanese figures, having the only white one become the leader of the resistance is a bit of a problem.

Isle Of Dog’s is another great movie from Wes Anderson. It’s lovingly made, and looks fantastic. It manages to be both funny and moving, whilst riffing on some more adult themes. The politics might be a bit off, but I don’t believe there was any intent to offend. It’s just a bit blinkered. If you’d like to know more about this check out this article https://www.buzzfeed.com/alisonwillmore/isle-of-dogs-jared-leto-orientalism?utm_term=.uf19MBb7O#.tvvplm36j

7/10