I loved The Incredibles. Made by Pixar at a time when Disney was just a distributor of Pixar movies, before Disney bought the animation studio and started focussing on the bottom line. The Incredibles has humour, heart, action, conviction, amazing music and is a wonderful homage to 1960’s spy flicks and comic-book family, the Fantastic Four. It is one of my all-time favourite movies.
Which brings me to Incredibles 2. The new film features the same characters, voiced by the original actors (Holly Hunter, Craig T. Nelson, Samuel L. Jackson) and starts where the original left off—superheroes are outlawed and Mr Incredible, Elastigirl, Dash and Violet, with baby in tow, take on the Underminer. Elastigirl is recruited by a communications company as the public face of the superhero comeback and Mr Incredible has to stay home to look after the kids and deal with everyday problems and a baby with multiple superpowers.
The premise is excellent and I was sold before I saw the film. Then I actually saw it.
Incredibles 2 has a solid story and fantastic superheroic action sequences that could only be done in a cartoon (live action CGI-realism comes with certain limitations). Mr Incredible’s struggle to cope with maths, Violet’s boyfriend troubles and an uncontrollable infant nicely balance out Elastigirl’s adventure as she attempts to capture the new villain. Frozone gets more screen time, and more of Sam Jackson is never a bad thing. A bevy of new, but shallow, superpowered characters is introduced.
But all too often Incredibles 2 feels like an inferior sequel to a great movie: the humour sometimes falls flat; the villain is predictable and unmemorable; the story drags at times; the sense of connection I felt with the first film wasn’t really there. It often feels like part of the Disney conveyor belt, rather than a sequel that was made because the story demanded it (see Toy Story 2 and 3 for examples of GREAT Pixar sequels made for the right reasons).
Incredibles 2 will make lots of money for Disney. It will sell huge numbers of toys (a primary motivator for Disney nowadays—Cars and its abysmal sequels, anyone?). There will be a sequel sooner rather than later. But it can’t help but feel like another film with an opportunity to be great that fell short because of a parent company’s focus on shareholder dividends.