Theres an “elephant in the room” at the Parr family dinner that kicks off this new trailer for Incredibles 2from Disney/Pixar: mothers got a new job, leaving dad to a Mr. Mom role — and hes anything but super at it.
Thats the setup for this nicely done trailer, which neatly balances the Parr family domestic comedy — baby Jack-Jacks fledgling superpower presents dad Bob (aka Mr. Incredible) with some literally fiery challenges — and fast-paced action as mom Helen (Elastigirl) battles the new (well, new-ish) villain The Underminer.
The new bad guy is voiced by John Ratzenberger, the Pixar veteran best known as know-it-all Cliff from Cheers, bringing this movie loads of experience at antagonizing. Holly Hunter voices Elastigirl, Craig T. Nelson is Mr. Incredible and their kids are played by Sarah Vowell (Violet) and Huck Milner (Dash).
The Parrs neighbor and ally Frozone is voiced by Samuel L. Jackson, who gets the trailers funniest moment at the end.
The film is written and directed by Brad Bird and produced by John Walker and Nicole Grindle. Bird directed the first Incredibles, which won the 2004 Oscar for best animated feature and grossed more than $633 million worldwide, per Disney/Pixar.
Disney/Pixars Incredibles 2 hits theaters nationwide on June 15. Check out the new trailer above.
‘Antebellum’ has a ‘Get Out’ vibe, but doesn’t live up to its twist
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definite..
“Antebellum” is built around a provocative twist, and it’s a good one — as well as one that definitely shouldn’t be spoiled even a little. Once that revelation is absorbed, however, the movie becomes less distinctive and inspired, reflecting an attempt to tap into the zeitgeist that made “Get Out” a breakthrough, without the same ability to pay off the premise.
Originally destined for a theatrical run, the movie hits digital platforms trumpeting a “Get Out” pedigree in its marketing campaign, since there’s an overlap among the producing teams.
More directly, the film marks the directing debut of Gerard Bush + Christopher Renz, who have championed social-justice issues through their advertising work. The opening script features a quote from author William Faulkner, whose intent will eventually become clearer: “The past is never dead. It’s not even past.”
If that sounds like a timely means of drawing a line from the horrors of slavery to the racism of today, you’ve come to the right place.
The story begins on a plantation, where the brutal overseers carry out grisly punishments against those tilling the fields. A few have just tried to escape, led by Veronica (Janelle Monae), and they pay a heavy price for their resistance, which does nothing to curb her defiance.
Also written by Bush + Renz, the script take too long before revealing what makes “Antebellum” different, but the middle portion — a “The Twilight Zone”-like phase when it’s hard to be sure exactly what’s going on — is actually the film’s strongest. (Even the trailer arguably gives away too much, so the less one knows, the better.)
The final stretch, by contrast, veers into more familiar thriller territory, and feels especially rushed toward the end, leaving behind a host of nagging, unanswered questions. That provides food for thought, but it’s also what separates the movie from something like “Get Out,” which deftly fleshed out its horror underpinnings.
Although the filmmakers (in a taped message) expressed disappointment that the movie wasn’t making its debut in theaters, in a strange way, the on-demand format somewhat works in its favor. In the press notes, Bush says the goal was “to force the audience to look at the real-life horror of racism through the lens of film horror. We’re landing in the middle of the very conversations that we hoped ‘Antebellum’ would spur.”
“Antebellum” should add to that discussion, so mission accomplished on that level. Monae is also quite good in her first leading film role (she did previously star in the series “Homecoming’s” second season), but otherwise, most of the characters remain underdeveloped.