The Incredibles 2 (Incredibles 2, 2018) is undoubtedly one of those films that exude good intentions but fail to accumulate sufficient merits or innovative elements to match the quality level of yesteryear, that of the endearing and astute film of 2004, a small wonder that was part of the Pixar glory period that also included Monsters, Inc. (2001), Finding Nemo (Finding Nemo, 2003), Ratatouille (2007), WALL-E (2008) and Up (2009). In essence here we continue with the same problem that the animation company suffers since Disney finished phagocytically 100% at the end of the last decade, read a general correction that bet too much on secure traction to redundant products and diagrammed within the logic of the franchises, a panorama that has only given us three great exceptions during the last years, Intensely (Inside Out, 2015), Finding Dory (Finding Dory, 2016) and Coco (2017), works that partly recovered the magic of the beginnings and that sensitive, realistic and very hilarious substrate.
The Incredibles 2 (Incredibles 2, United States, 2018)
https://ww.go123movies.io/movie/incredibles-two/
Direction and Script: Brad Bird. Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell, Huck Milner, Catherine Keener, Eli Fucile, Bob Odenkirk, Samuel L. Jackson, Sophia Bush, Brad Bird. Production: John Walker and Nicole Paradis Grindle. Distributor: Buena Vista Duration: 118 minutes.
Although from the first minute the proposal is presented as a direct continuation of the previous opus and that course in the anonymity of the family of superheroes of the title, as the story begins with the appearance of the villainous mole Underminer the outcome of the the first, the truth is that we are facing a camouflaged and inverted remake that does not provide anything remotely novel that is unified with the previous development. Now it is Helen Parr / Elastigirl, the mother of the protagonist clan, who must take care of the family sustenance (before it was the father, Bob Parr / Mr. Incredible, who worked selling insurance while the woman was a relatively traditional housewife) and instead of a single antagonist we now have several possible villains to choose with a view to creating a "suspense" that is not such a formal truism (even one of the suspects hiding a personal agenda turns out to be a fan of superheroes, as it was the evil Syndrome in the original, which reinforces this scheme full of different parallels).
The director and screenwriter Brad Bird, also responsible for the first chapter, remains far from the level of the above and previous works as The Iron Giant (The Iron Giant, 1999) and Ratatouille, but simultaneously exceeds, for example, what was done in occasion of the failed Tomorrowland (2015). One could say that the film falls on the same uninspired terrain of Cars 2 (2011), Valiente (Brave, 2012), Monsters University (2013) and Cars 3 (2017), without even reaching that intermediate region that characterized A Great Dinosaur (The Good Dinosaur, 2015), located between barely drinking and excellence. The treat is not bad at all and in visual terms it is again exquisite but languishes from the vigor and novelty of yesteryear, because just as the original functioned as a brilliant parody of the Cold War paranoia, the television series and the comic books more elementary, this new incarnation of the Parr family turns more to a plurality of ideas that do not fully develop and that are somewhat weak.
In the narrative combo in question we come across a mockery of Bob's machismo light, a compliment to Helen's flamboyant feminism, a portrait of the family upheaval and even an interesting attempt to homologate the superheroes to what would be a repressive apparatus that can be manipulated at the convenience of the social actors in power (old rhetorical approach to the best fantasy and science fiction movies that today is also accompanied by a questioning - by the mouth of the real villain - about the sad passivity of the people before the State, the mass media and / or the same superheroes, all depositaries of expectations that reproduce ad infinitum the popular indolence of always). As expected, here we have a greater number of action sequences and much of the jokes are reduced to Bob's journey as "housekeeper" and the multiple powers of Jack-Jack as opposed to the usual monopod of the item, a detail that certainly also was already present in the opus of 2004. The Incredibles 2 is worthy and not much more: while the original pleaded for domestic union and the attitude of not renouncing the particular idiosyncrasy of each, now the story goes to claim for equity both inside and outside the family home ...
The Incredibles 2 (Incredibles 2, United States, 2018)
https://ww.go123movies.io/movie/incredibles-two/
Direction and Script: Brad Bird. Cast: Craig T. Nelson, Holly Hunter, Sarah Vowell, Huck Milner, Catherine Keener, Eli Fucile, Bob Odenkirk, Samuel L. Jackson, Sophia Bush, Brad Bird. Production: John Walker and Nicole Paradis Grindle. Distributor: Buena Vista Duration: 118 minutes.
Although from the first minute the proposal is presented as a direct continuation of the previous opus and that course in the anonymity of the family of superheroes of the title, as the story begins with the appearance of the villainous mole Underminer the outcome of the the first, the truth is that we are facing a camouflaged and inverted remake that does not provide anything remotely novel that is unified with the previous development. Now it is Helen Parr / Elastigirl, the mother of the protagonist clan, who must take care of the family sustenance (before it was the father, Bob Parr / Mr. Incredible, who worked selling insurance while the woman was a relatively traditional housewife) and instead of a single antagonist we now have several possible villains to choose with a view to creating a "suspense" that is not such a formal truism (even one of the suspects hiding a personal agenda turns out to be a fan of superheroes, as it was the evil Syndrome in the original, which reinforces this scheme full of different parallels).
The director and screenwriter Brad Bird, also responsible for the first chapter, remains far from the level of the above and previous works as The Iron Giant (The Iron Giant, 1999) and Ratatouille, but simultaneously exceeds, for example, what was done in occasion of the failed Tomorrowland (2015). One could say that the film falls on the same uninspired terrain of Cars 2 (2011), Valiente (Brave, 2012), Monsters University (2013) and Cars 3 (2017), without even reaching that intermediate region that characterized A Great Dinosaur (The Good Dinosaur, 2015), located between barely drinking and excellence. The treat is not bad at all and in visual terms it is again exquisite but languishes from the vigor and novelty of yesteryear, because just as the original functioned as a brilliant parody of the Cold War paranoia, the television series and the comic books more elementary, this new incarnation of the Parr family turns more to a plurality of ideas that do not fully develop and that are somewhat weak.
In the narrative combo in question we come across a mockery of Bob's machismo light, a compliment to Helen's flamboyant feminism, a portrait of the family upheaval and even an interesting attempt to homologate the superheroes to what would be a repressive apparatus that can be manipulated at the convenience of the social actors in power (old rhetorical approach to the best fantasy and science fiction movies that today is also accompanied by a questioning - by the mouth of the real villain - about the sad passivity of the people before the State, the mass media and / or the same superheroes, all depositaries of expectations that reproduce ad infinitum the popular indolence of always). As expected, here we have a greater number of action sequences and much of the jokes are reduced to Bob's journey as "housekeeper" and the multiple powers of Jack-Jack as opposed to the usual monopod of the item, a detail that certainly also was already present in the opus of 2004. The Incredibles 2 is worthy and not much more: while the original pleaded for domestic union and the attitude of not renouncing the particular idiosyncrasy of each, now the story goes to claim for equity both inside and outside the family home ...
