One might be wondering to themselves the following thought: just what would the handlers at Pixar do for a darn encore? Let’s face it folks, we have been so spoiled by the 3-D animated gems that insist on rolling out of the Pixar universe. It seems that year after year, the Disney/Pixar assembly line serves up the generated goodies.

We would have to go back almost a decade ago to recall the marvelous battery-operated bonanza that was Toy Story. Since then, delightful ditties such as Monster’s, Inc. and Finding Nemo have routinely come into our playful consciousness to the point that we’re indifferent by the superb offerings of Pixar’s animated fare.

If you think it’s a novel concept to embrace the sassy and side-splitting adventures of a courageous cartoon clan ready to kick some major tail then get ready to endure the dysfunctional dynamos known as The Incredibles. Outrageously funny and imaginative, writer-director Brad Bird helms what appears to be the latest thumping thrill ride in the animation genre. Blessed with a high-spirited energy, vibrant visuals, crafty storytelling and succulent special effects, The Incredibles indeed rescues the day as a creative crime-fighting concoction. This PG-rated feature film sparkles with unassuming sophisticated wit and wonderment. Saddled with adult-oriented overtones, Bird may have conjured up an animated gem that may be a bit too suggestive for sensitive kiddies. Basically, The Incredibles is a snappy and smart superhero saga that’s intriguingly charming in its chaotic mode.

Bob Parr/Mr. Incredible (Emmy-winning actor Craig T. Nelson) was an extremely content superhero chilling out in his heroic existence in Metroville. However, poor Parr has been experiencing a setback as of late due to the bunch of ingrates that have stepped forward in an effort to sue him for “damages”. The angry public wants Mr. Incredible’s hide for all the distracting extra activity he’s caused in the community while trying to loyally save their endangered skin. During his evil-fighting heyday, Parr/Incredible was thorough and did a decent job in his bid to promote goodness and safety. But now his former admirers-turned-detractors want to turn him into a costumed pinata so that they can poke and prod at him until his helpless guts spill out in unison.

Tired of all the fuss and confusion, Bob Parr packs up his Mr. Incredible persona and his family to escape the disapproving atmosphere of unflattering lawsuits. The gifted group decides to join the Superhero Relocation Program where they can a get a fresh start. Parr has been forced to give up his cherished hero handle as Mr. Incredible to work mechanically at Insuricare in the role of an insurance claims adjuster. During this lengthy time, Bob has grown disenchanted with his dull lifestyle but still tries to be optimistic in all his lingering malaise. As a result of his inactivity and disinterest in his newfound 9 to 5 routine, Bob has grown fat and weary but manages to keep an upper lip about his present predicament. Plus, dealing with his insufferable boss (Wallace Shawn) has taking its tremendous toll as his superior is not too thrilled with Bob’s bout with integrity when dealing with clueless customers.

It’s secretly killing him that he can no longer go out there and curb the crime wave with his Mr. Incredible shtick. Oh well, Bob will simply have to settle for the occasional leisurely social outing of bowling along with his buddy and fellow ex-superhero-in-hiding Frozone (Samuel L. Jackson). Still, Bob and Frozone discreetly keep their ears and eyes open while looking for an opportunity to confront criminals if warranted to do so.

Meanwhile back at the Parr household we are given some insight as to how restraining Bob’s loved ones feel pertaining to their restrictive boundaries. Much like head of household Bob, the rest of the family possess some incredible powers as well. Housewife Helen is known as Elastigirl (Holly Hunter) for her outstanding flexibility (no doubt to discipline as an overwhelmed mother in comparison to equally quelling wrongdoing in society). The Parr children are a colorful bunch that is putting it mildly. Eldest son Dash (Spencer Fox) has super speed and wants to flaunt it much to the dismay of his parents. Daughter Violet (Sarah Vowell) has the skill to disappear at will that’s fitting considering her bashful demeanor. As for tot Jack-Jack (Eli Fucile and Maeve Andrews) the verdict is still unknown as to what this kid could do in terms of his potential abilities. Together, they are a fascinating family of crime-stoppers looking to spread their clipped wings and do what they do best—face adversity in the heat of confrontational excitement.

In other developments, Mr. Incredible has a notable impact on an ardent worshipper of his named Buddy Pine (Jason Lee). As a superhero, Mr. Incredible was the ideal prototype for admiring Buddy to look up to in complete reverence. In fact, Buddy takes it one step further and wants to actually team up with Mr. Incredible and be the crusading Robin to his mentoring Batman. Unfortunately, Mr. Incredible shows a harsh indifference to Buddy thus breaking both his admiration and enthusiasm toward his golden idol. Feeling disrespected and betrayed, Buddy opts to become his own exceptional freakish force by donning the villainous ego of Syndrome, a twisted gadget-loving goon out to exact revenge on the Incredibles.

When a desirable creature with a cemented mystique arrives on the scene in the form of Mirage (Elizabeth Pena), she offers Bob Parr a superhero assignment that he gladly accepts. Surprisingly, Bob’s revisited gig as Mr. Incredible is a major success story. This is enough to boost his confidence and self-worth. Soon, Bob starts to transform back to his ship shape superhero self by getting into crime-fighting fitness and looking as dapper and dominating as ever.

It’s not long before reliable superhero costume designer Edna (played with infectious giddiness by Brad Bird) calls and raises some puzzling signals in Helen’s mind about what Bob has been up to lately in his collaboration with Mirage. Figuring that the time is right to join Bob in his return to upholding justice, Helen instructs family friend Edna to provide outfits for her and the kids. In a matter of time, Helen (with her Elastigirl sensibilities in high gear) goes chasing after Bob not realizing that the children are tagging along in the process.

The Incredibles definitely adds some considerable notches to its belt thanks to the clever input by the Pixar Animation Studios. This impressive action-packed CGI smorgasbord is a diligent homage to all the festive superhero comics and James Bond flicks that have been bombarding the pop cultural landscape forever. Bird, the artistic mastermind behind 1999’s animated film The Iron Butterfly, has the keen vision to lend some three-dimensional spryness into material that’s innovative and compellingly high-tech in its immensely enjoyable scope.

The storytelling angle is vividly constructed with boisterous battle sequences and action-oriented flourishes that rival the execution of such wayward joint ventures as this year’s Spiderman 2 and the rollicking romp of the Spy Kids movie series. Most importantly, The Incredibles highlight characterizations that are genuine in thought and reactionary impulses. The unity of the Parr family in their quest to save breadwinner Bob from the sinister clutches of the menacing Syndrome is a winning premise. And when Syndrome’s massive robot henchman is sent to eradicate Metroville altogether, we get a heartfelt urge to see how really wounded a soul this Incredible wacko nemesis really is by reflecting the humiliation and alienation he harbors so sacredly.

For the most part, The Incredibles radiates with amazing humor and razor sharp revelations about familial fortitude. This is an inspired display of escapist fanfare that is easily one of the best spectacles to hit the big screen in 2004. The bar will certainly be raised in the immediate future to further the cause of cranking out superior animated entertainment that will be spellbinding for children and adults alike.

Frank Ochieng

(c) Frank Ochieng 2005