(A quick aside before I start my actual review. I am on a comically absurd amount of cold medicine at the moment and “high as a kite” is the best description of my state of mind. So, this review may be bad. My apologies.)
Occasionally, I will tell people that I think The Incredibles is the greatest superhero film of all time; they think I’m crazy. And when I say that the film adaptation of Watchmen is the only one that comes even close, they start looking for mental institutions to house me in. But, I also believe those two statements whole-heartedly, but having not seen The Incredibles since high school, I was worried that the film wouldn’t have aged as well as my exceptionally fond memories. Thankfully, it’s like fine wine. It’s only gotten better. With a dark and mature thematic complexity that manages to exceed even director Brad Bird’s earlier masterpiece, The Iron Giant. Though the film doesn’t reduce me to a sobbing, blubbering mess like Up and Toy Story 3, this earlier Pixar entry marked the beginning of the peak of Pixar’s new Golden Age and represents one of the finest children’s films of the 2000s.
More than any traditional comic book superhero film (even the best ones like The Avengers or Spiderman 2), The Incredibles not only captures the spirit of modern heroic storytelling and the grandiose mythology inherent therein, it becomes a meta-commentary on superheroes in general and both deconstructs and then reconstructs society’s need for heroes and those who are truly exceptional. With an explicit as well as implied body count that rivals Titan A.E., Brad Bird doesn’t shy away from examining the consequences of one of the most sadistic and evil villains in the Disney or Pixar canon. It creates a thrilling story that offers a lesson on the nature of truly being special without talking down to the audience or offering artificial, feel-good plaudits. The Incredibles succeeds as a spectacle-fueled children’s adventure tale as well as a philosophical examination of family and potential for the older members of the audience.
In a situation not entirely dissimilar to Watchmen, The Incredibles takes place in a world where all superheroes have been forced to retire by a government and public distrustful of their powers and their place above them in society. Before he was forced into retirement, Bob Parr (Poltergeist‘s Craig T. Nelson) was the super-strong Mr. Incredible but now his job entails him being the opposite of hero, working as an insurance claims adjuster where he’s yelled at by his boss (My Dinner with Andre‘s Wally Shawn) for not screwing over their customers as much as humanly possible. Before Bob retired, he married fellow super, Helen/Elastigirl (Raising Arizona‘s Holly Hunter), and post-retirement the pair are not-so-happily married with three children, the ultra-fast Dash, the shy Violet (with Sue Storm’s powers from the Incredibles), and the seemingly non-super-powered infant Jack.
Bob does not adjust well to civilian life and whether he hates himself for his job or is simply bored sitting in his cramped car on his commute to work. And though Helen has come to terms with her new life, it’s clear that the life of a stay at home mom isn’t for her either and forcing her children to hide their superpowers is causing tensions at home as Dash acts out in class cause he has no way to vent his energy. Bob has even taken to, in a story meant to parallel marital infidelity, sneaking out with an old friend from his superhero days, Frozone (Django Unchained‘s Samuel L. Jackson), to fight crime while telling his wife he’s out bowling. But, when Bob gets an offer to break out of the doldrums of retirement, it’s not long til he discovers it’s a trap from a mistake from his past that has now put him and his entire family in danger.
The voice performances from all of the principal leads are all (lame pun incoming) incredible. Craig T. Nelson’s career has been, to put it gently, non-existent since Coach got off television with only some small bit parts here and there, and it’s probably not much of a stretch to call Mr. Incredible the role of his career. He captures the frustration and ennui of an exceptional man forced into a life of mediocrity. Holly Hunter is an excellent and accomplished actress in her own right so clearly Elastigirl isn’t The Piano or Raising Arizona but she too finds herself railing against her domesticated lifestyle. And there are great supporting turns from Jason Lee as the villain of the piece and Sam Jackson as Frozone. Though, let’s face it, is it ever possible to hear Sam Jackson’s voice and not get excited?
Alright, you know what. I’m too buzzed on cold medicine to do this review justice right now. I thnk I’ve been working on it for like two and a half hours now and I’ve only written 800 words. I would usually have written two reviews of comparable length in that time. Needless to say, The Incredibles is not just one of the best children’s films of the last ten years but arguably of all time and few superhero movies get superhero storytelling as well as it does (if any). The movie is unremittingly dark for a Disney film and when many of its sugar-coated peers will start to fade into the mist of memory, The Incredibles will be around for a long, long time. I just wish I’d had the chance to review it when I was capable of stringing more than two coherent sentences together without subsequently staring at the ceiling for about five minutes in a medicinally-induced haze.
Final Score: A