“You want out of the hole? You should put down the shovel.” Incredibles 2

[Image Source: Wikipedia]

Disney Pixar’s Incredibles 2, picking up 14 years (!) after the last film hit theatres, is about as subversive as a movie full of pixelated superheroes can be. This is the film our country needs right now. People will flock to this – Blue States on the coasts and Red States in the middle – and none will be the wiser that directing wunderkind Brad Bird has given us the ultimate Ray Bradburdy-esque allegory for our topsy turvy political times.

For instance, Holly Hunter’s Elastigirl – offered a Faustian contract by media-hack Winston Deavor (Bob Odenkirk) to publicly redeem superheroes who have been outlawed in the Incredibles’ flawlessly production-designed mid-century moment – queries, “To help my family I have to leave it. To fix the law, I have to break it.” Does that sound familiar … or what?! (I won’t even get into our present debate over the horror of separating immigrant families from their children at the border … oh, Elastigirl, how we need you right now.)

The first Incredibles surprised us all, billed as it was as a four-color throwback to superhero shenanigans of movie matinee yore. Yet, in reality, it was a brilliantly executed existential treatise on surviving in a world of ageist disposability and politically charged hypocrisy. In both films, Bird uses the titular Spandex’d family (homage as they are to Marvel’s own Fantastic Four) to explore thorny issues of identity politics, socioeconomic disparity, and xenophobia. (For those of you rolling your eyes, watch the first film again and tell me I’m wrong. In fact, I would argue that, taken together, The Incredibles are a far better “spiritual adaptation” of Alan Moore’s and Dave Gibbons’ seminal Watchmen than Zack Snyder’s slavishly literal 2009 film treatment of said graphic novel.)

[Image Source: Wikipedia]

Bird has woven into both films an infectious love of 60s caper-television fare a la Mission: Impossible, The Man from UNCLE, and Jonny Quest, aided and abetted by his pitch-perfect musical soundtrack partner Michael Giacchino, whose shameless worship of Lalo Schifrin, John Barry, and Herbie Hancock is as obvious as the “i” on Mr. Incredible’s Buick-sized chest.

Of all Pixar’s storied output, The Incredibles films go the greatest distance, creating a self-contained universe of exceptional design and unimpeachable character and holding an outsized mirror to the heartbreaking flaws in our present reality.

Incredibles 2 is one of those rare sequels that meets if not exceeds its predecessor. This may be the Godfather 2 of Pixar flicks.

[Image Source: Wikipedia]

The first film debuted before Marvel Studios’ ascent to cinematic glory, not to mention Marvel’s subsequent acquisition by Disney, and this sequel appears after the first major chapter of Marvel’s meteoric rise comes to a close with Avengers: Infinity War. Not sure what to make of that, but The Incredibles‘ wry, relatable commentary is arguably far more sophisticated than that of any other superhero flicks we have seen … or likely ever will. (I’m pretty sure this is the only superhero movie, let alone animated film, I’ve ever seen that has used the word “conflate” in a line of dialogue.)

We meet our heroes, one day following the events of the first film, as they continue to bump along in life – Olympian gods suffering through the mundanities of middle American subsistence. The super-family’s well-intentioned intervention of a bank heist goes awry, and they find themselves in the slammer and without the aid of their super-handler Rick Dicker, who has decided a life of retirement is preferable to one of damage control for a family of super-powered freaks. He observes ruefully, “You want out of the hole? You should put down the shovel.”

[Image Source: Wikipedia]

In Dicker’s absence, PR maven Winston Deavor steps forward with a scheme to celebrate Elastigirl and thereby rehabilitate the negative image “supers” have suffered in The Incredibles-universe for years. Mr. Incredible (with heart-breaking comic voice work by Craig T. Nelson) is left at home with a super-powered infant Jack-Jack (whose anarchic impulses yield increasingly zany and haunting consequences) as well as two angsty tweens: the invisible Violet and the speedster Dash. Oh, and Deavor’s sister Evelyn (a delightfully sardonic Catherine Keener) may or may not be on the side of the angels. TBD.

The movie touches on just about every zeitgeist issue hitting today’s headlines: women who have lived far too long in the shadows of men; the dilemma of finally finding one’s “moment” when the obligations of daily life make it impossible to actually enjoy it; a fear-mongering government whose reach far exceeds its grasp; and the unerring need of the media and elected officials to scapegoat the marginalized for all of society’s failings. Not incidentally, Incredibles 2 is a funny-as-hell, fizzy-a$$ bottle-rocket of entertainment.

Yes, fan-favorites Frozone (Samuel L. Jackson, all wisenheimer perfection) and Edna Mode (director Brad Bird doing double-duty as the voice of the fussy Edith Head-inspired “capes and cowls” designer) make their triumphant returns. Mode particularly enjoys a delightful sequence where her take-no-prisoners approach to fashion ends up yielding exceptional parenting tips to Mr. Incredible: “Done properly, parenting is a heroic act.”

[Image Source: Wikipedia]

The film’s antagonist declares in the movie’s final act that “superheroes make us weak,” asserting that our reliance on escapist fare prevents us from living our most authentic lives.

It’s a twisty and cynical bit of meta-commentary, embedded as it is in a film produced by a media empire (Disney’s) raking in billions from our foolhardy fantasies that Captain America will somehow save our hides from the real-life fascists ruining our country. Fair enough.

But all hail Pixar for yet again offering us – under the deceptive and intoxicating guise of family friendly entertainment – a healthy dose of philosophical medicine just when we desperately need it … a big gulp of fortifying spinach to counteract the real-life Krytonite sapping our spirits on a daily basis. (Yes, I just mixed my Popeye and Superman metaphors. Go sue me, Lex Luthor.)


[Image Source: Wikipedia]

Reel Roy Reviews is now TWO books! You can purchase your copies by clicking here (print and digital). In addition to online ordering at Amazon or from the publisher Open Books, the first book is currently is being carried by BookboundCommon Language Bookstore, and Crazy Wisdom Bookstore and Tea Room in Ann Arbor, Michigan and by Green Brain Comics in Dearborn, Michigan. My mom Susie Duncan Sexton’s Secrets of an Old Typewriter series is also available on Amazon and at Bookbound and Common Language.

Countdown: Nebraska

From my wonderful publisher Open Books

Almost there folks! Just 4 days remain until the official launch of ReelRoyReviews, a book of film, music, and theatre reviews, by Roy Sexton!

Please note that, in addition to online ordering, the book currently is being carried by Green Brain Comics in Dearborn, Michigan and by Memory Lane Gift Shop in Columbia City, Indiana. Memory Lane also has copies of Susie Duncan Sexton’s Secrets of an Old Typewriter series.

Here’s what Roy thinks about Nebraska: “Payne absolutely nails the small-town American vibe of suspicious desperation, envious gossip, and corrosive pride, and he does it without once condescending to his subject matter or judging the characters in play.”

Learn more about REEL ROY REVIEWS, VOL 1: KEEPIN’ IT REAL by Roy Sexton at http://www.open-bks.com/library/moderns/reel-roy-reviews/about-book.html. Book can also be ordered at Amazon here.

“He believes everything that people tell him…” Nebraska

Description: Film poster; Source: Wikipedia [linked]; Portion used: Film poster only; Low resolution? Sufficient resolution for illustration, but considerably lower resolution than original. Other information: Intellectual property by film studio. Non-free media use rationales: Non-free media use rationale - Article/review; Purpose of use: Used for purposes of critical commentary and illustration in an educational article about the film. The poster is used as the primary means of visual identification of this article topic. Replaceable? Protected by copyright, therefore a free use alternative won't exist.

[Image Source: Wikipedia]

I daresay Alexander Payne’s Nebraska may be my favorite film of 2013, and it is in my top 100 of all time. Payne (Election, Sideways, About Schmidt) presents as believable a treatise on family in middle America as I’ve ever seen, but, in his nuanced approach, he never loses the cinematic essence of his narrative.

The film stars Oscar nominee Bruce Dern as a Montana curmudgeon who gets one of those “you’ve won a million dollars if you just buy some magazines” come-ons in the mail. In his deep desire for something special to happen in his life, he believes it. The film opens as Woody Grant (Dern) makes yet another breakout from the home he shares with his exasperated wife (Dern’s brilliant fellow nominee June Squibb) and attempts to walk the 900 or so miles between Billings, Montana and Lincoln, Nebraska – where the letter-generating marketing company is headquartered – to claim his prize.

Enter Dern’s youngest son David, played by a refreshing Will Forte (Saturday Night Live, MacGruber), who beautifully balances frustration and familial love when he agrees to take his dad on the obviously fruitless quest to Lincoln. The dynamic between Dern and Forte is magic with both performers (assisted by director Payne) bringing out the best in each other, depicting a convincing parent/child dynamic with all the warmth, wit, frustration, and heart that entails.

(As an aside, I just heard, for the first time, Harry Chapin’s heartbreaking song “Mr. Tanner” courtesy of darling Laura Benanti’s equally delightful At 54 Below live album. I kept thinking about this song while watching the movie – similar joke, slightly different punchline, but equally affecting. Watch Benanti’s performance here.)

The road trip has its complications, generated in part by Woody’s alcoholism and possible dementia. Woody and David end up making a memorable stop in the father’s hometown of Hawthorne after Woody takes a fall and bangs up his noggin. Despite his son’s advice to the contrary, Woody tells a group of former drinking buddies about his newfound “winnings,” and that spark sets off a slow-burning comic powder keg of jealousy, greed, pride, resentment, and miscommunication among Woody’s family and friends.

Payne absolutely nails the small-town American vibe of suspicious desperation, envious gossip, and corrosive pride, and he does it without once condescending to his subject matter or judging the characters in play. The cast is perfection, from the aforementioned Dern, Forte, and Squibb to Bob Odenkirk as oldest son Ross and Stacy Keach as country-fried thug/bully Ed Pegram. I think any of us who grew up in small towns know that last guy – Keach perfectly personifies the overbearing charmer who has his greasy thumb on every citizen’s every move.

If Dern and Squibb, Payne and the movie don’t walk off with armloads of Oscars, I will be heartbroken. And Forte was robbed by not being nominated – he is the glue holding the film together.

Payne has populated the rest of the town and Woody’s extended family with a spectacular assortment of unknown performers (at least unknown to this viewer). Every one of them seems like they just walked out of the general store in AnyTown, USA and onto this movie set. The brothers, cousins, sisters-in-law in the film especially have it down: that stultifyingly overcast atmosphere created by family members who haven’t seen each other in years, with their probing questions, insulting assumptions, and tedious conversations about cars and mileage while watching Sunday afternoon football on TV. (Particularly observe Forte whose expressions in those scenes are priceless, fully leveraging his improv comedy training without breaking character once.)

Payne is not making fun of this place or its inhabitants, but he is putting this microcosm on display, warts and all, in a near-allegorical illustration of how life catches up with everyone, how we all get older, and how disappointment is a toxin that saps the soul. And somehow he gets that all done with a light touch, warm-hearted humor, and one darn poignant moment after another. When Forte and Dern arrive at the marketing joint in Lincoln, Forte tells the bemused woman who works there, “He [Woody] believes everything that people tell him.” She replies, “Oh, that’s too bad.”

And if you aren’t chuckling knowingly at Forte’s karaoke dinner with his loving/combative/crazy/adorable parents or weeping some sweet, salty tears at the film’s final moments, then you are made of granite!

Go see this movie. Now.