I saw the Incredibles Dismantled...

I'm a huge fan of Disney/Pixar's "The Incredibles": hands down one of the finest superhero films ever produced, whether animated or live action. A sequel seemed guaranteed, but boy, what a long wait (fourteen years, to be exact). The darn thing is, sometimes long waits are worth it, and other times, well, please allow me to elaborate...

Now, don't get me wrong: Creator/writer/director Brad Bird's "Incredibles 2" hits a joyous note in simply regrouping the gang: Craig T. Nelson as Bob, Mr. Incredible; Holly Hunter as Helen, Elastigirl; Sarah Vowell as Violet, the Invisible Girl; Huck Milner as Dash the Flash; and Eli Fucile and Maeve Andrews as Jack-Jack, the shape-shifting baby. To assist the quartet, there's Samuel L. Jackson's Lucius Best, the icy Frozone and (though tardy in her appearance) super-costume designer, Edna Marie "E" Mode, voiced by magnanimous Bird, himself.  Yep, a familiar, cozy ensemble, and yet...

The return of our Fantastic Five (or seven, as the case may be) should have come with a wide-range, team-playing purpose. Unfortunately, the principles' interaction is abbreviated for most of this run. Really, is this supposed to be "Incredibles 2" or a soft version of a solo "X-Men"? Why not just label it "Elastigirl" and call it a day?

As one will infer, it's the dear ol' mom who takes center stage, while her family takes the backseat, under the truncated care of relocation man, Rick Dicker (Jonathan "Better Call Saul" Banks). Meanwhile, optimistic industrialist, Winston Deavor (Bob Odenkirk--Saul, himself) and his pessimistic, inventor sister, Evelyn (Catherine Keener) promote superhero legalization, claiming the feminine mystique is the path to acceptance. This discriminating recruitment gives the movie a feminist flair, which wouldn't be so bad if it led to something substantial. 

On the film's padded, flip side, we get a "Mr. Mom" simulation with humdrum, homebody gags. The fact that Mr. Parr struggles at the most rudimentary tasks is discouraging, particularly when we've seen the big lug rise so high on prior occasions. Yeah, he's still affable and all, but gee whiz! I mean, if he's meant for a challenge, then give him one with some balls attached, like maybe a world-shaking obstacle that actually meets his tenacity and brawn. (The same goes for Violet and Dash, who deserve better than sitting on their adolescent laurels.)

Though Jason Lee's anguished Syndrome dominated the first film, this time we're dealt the subliminal Screenslaver, whose actual identity boomerangs back to an aforementioned character. As a Conal Cochran knockoff (abetted by some "Outer Limits" restructuring), Screenslaver initially intrigues, but after a while the enigma's inclusion feels more like an off-the-cuff gimmick than a threat. Also, the big, identity reveal isn't so big if one only dares to pay attention and invest some basic sense. ("Wizard of Oz" fans will figure it out well in advance.) 

In a sitcom (or an hour-long, adventure show), this sort of cutesy stuff might work, but in a two-hour movie, it spreads way thin. By the time the gang finally (re)assembles, the set-up feels obligatory, strained and tacked on.

If there's anything that "Incredibles 2" has going for it, it's a reluctance to stoop to today's dysfunctional, family stereotypes. I don't care if the Parrs are superheroes and possess "abnormalities". They act like a genuine family in the old-fashioned vein. Beyond a few, realistic squabbles (whether at home, in the energetic prelude or in the late-in-the-story throes of duty), they do stick by one another and their friends. Compare that to the contentious interplay of Neflix's "Lost in Space", and you'll get my drift.   

Bird may have had his heart in the right place, and "Incredibles 2" is leagues better than that blasphemous "Lego Batman" bull, but it still cheats its titular characters from being all they can be. The Parrs are worthy of many great adventures. To wait this long for a spurious, lone-wolf dissertation is, quite frankly, a prodigious letdown. I'd have preferred a television series based on the folks instead, where this sequel's concept could have come and gone within the appropriate slot and from there, led to other adventures. 

Because of its downsized vision, "Incredibles 2" could become a conspicuous thorn in this franchise's side, but then to be an official franchise, more than a couple entries are required. Sad thing is, I honestly don't see much chance for another chapter coming any time soon (no matter how much this entry makes), and if we do, indeed, get another sequel, can we be confident it'll reach its incredible potential?

An Alternate Reality #5: I saw Tomorrowland...

Disney's "Tomorrowland", based on its legendary, theme-park attraction and directed by Brad ("The Incredibles"/"Iron Giant") Bird, is an essay in conflict and optimism, though surely more so the latter after its events reach fruition. 

The story, as conveyed by middle-age Frank Walker (George Clooney) projects a future that could have been and may very well yet exist in some parallel plane. Walter, we learn, was granted access to this illustrious world after presenting his Rocketeer knock-off jetpack at the 1964 NY World's Fair's Hall of Invention. With the eventual help of its "curator", David Nix (Hugh Laurie), and an eager but mysterious, "adolescent", Athena (Raffey Cassidy), Walter seizes the chance to ensure a better tomorrow, until we learn his plans have gone astray.

Frank's story coincides with a current-day one: that of teenager Casey Newton (Britt Robinson), who also seeks a prosperous future. Her conviction gets her in trouble, however, particularly after a NASA break-in, but it also interferes on a more basic level when she dares to question her closed-minded teachers on the alleged inevitability of war and climate change, in addition to the likelihood that we're forever doomed to dystopian imprisonment. 

Her zeal is detected by the futuristic Athena, and to link her to the grand cause, she's slipped a World's Fair pin, which when touched, grants access to another world, full of splendors and accomplishments. From there, she tracks down Walter to accompany him on a mission to ensure a superior world. This mission, however, may also be Walker's chance at redemption, since it appears he shares blame in why Tomorrowland never sustained stability. 

Through Casey and Walter's journey, we are treated to sleek action sequences and ample science-fiction hardware, which should please even the most jaded viewers. At least none of the glitz diminishes the film's message, though for those of an indolent inclination, offense might be taken.

This is because "Tomorrowland's" script (as meticulously rendered by Bird, Damon Lindelof and Jeff Jenson) insists that we don't sit on our duffs to improve the world, or that we should simply let others refashion it for their off-the-cuff designs. 

On the downside, the film borders on excessive positivism, especially when it emphasizes intellectualism as a prime means to saving the world. Let's face it: the likes of Ming the Merciless and Adolf Hitler were "intellectual" in their villainy. Even a number of our current "leaders" can't (or simply won't) distinguish right from wrong, going so far as to rob charitable causes and overlook acts of atrocity in the name of appeasement. "Tomorrowland's" emphasis, in this regard, is shamefully misguided. 

Still, the film's "Star Trek" inspired notion that honorable people should work together for a just cause, churns a soothing appeal, even when the film meanders into annoying naivete. In fact, by its climax, "Tomorrowland" blindly embraces the "power of positive thinking" without an iota of apology, reinforcing its slant with a dash of "Close Encounters" and "This Island Earth" for those keen enough to discern the influences. 

On a more important note, "Tomorrowland" embodies the aspirations of a gone-by era, which the insightful Walt Disney would have approved. Yes, regardless of what the naysayers proclaim, we can reach our goals, including such fanciful developments as flying machines, robots and even inter-dimensional travel, but only if we believe...only if we work hard to achieve.  
That's a terrific message to relay in a time when apathy sometimes seems the common thread. "Tomorrowland" stands out because it tells us to "dream the impossible dream", and if we dare do so, the fruits of our imaginative labor could very well multiply a thousandfold.