Incredibles 2 primarily concerns male anxiety about women taking over traditionally masculine roles.
In the film, the way forward is backward, on a path that stumbles into misplaced nostalgia and dicey humanism.
Okay, so audiences still aren’t ready for De Palma’s operatic visual sensibilities, but surely critics must be on board by now, right?
The screenwriters are savvy enough to acknowledge that audiences have moved on from Ethan Hunt and the IMF.
The fun Mission: Impossible – Ghost Protocol could’ve been better, but the Blu-ray is outstanding.
While Brad Bird’s direction is not nearly as fleet as his CV in animation would lead one to hope, it’s not without its pleasures either.
The conflict between natural talent and learned and practiced ability shapes the heart of The Incredibles.
Growing up requires occasionally yielding to, if not the stark darkness, then the bewildering gray of interpersonal ethics.
Everybody has a place, a role, a value. The trick—with people, with food, with films, with life—is selection; that is, to have good taste.
San Francisco has a long and diverse film history, yet most roads in Fog City Mavericks seem to lead to either the Skywalker Ranch or Pixar Studios.
It’s difficult to see the real brilliance of the Bay Area film scene through this self-congratulatory Fog.
Ratatouille is darling, even if I’m still of the opinion that a rat will eat your face if you let your guard down for a second.
If Brad Bird has a signature auteur trait it would be that each of his films are struggles with and reactions to modernity.
As always, Pixar’s technological invention remains peerless, both for its stunning detail as well as its inventive flair.
These films are not in production, except in my imagination.
Family-friendly entertainment for left-wingers and right-wingers alike.
The Incredibles may fight to save the world, but they teach us to know thyself.