The standards are exceptionally high, given the track record Pixar has so far presented.
But one movie stands out to me in being the complete deal,The Incredibles.
Pixar hasnt made a bad movie yet, but my assertion is thatThe Incrediblesis the perfect package.
The supers are forced to go into hiding in the face of a litigious public.
But can they deny who they really are, when the world needs them?
Incredible and Elastigirl, with their crime fighting pal Frozone.
The Parrs have three children, Violet, Dashiell Dash and baby Jack Jack.
Its a touch ofTrue Lieswith a splash ofX-Menand just a dash of James Bond.
Theres a consistency of tone throughout and there is a definitive start, middle and end.
On repeat viewing there are no superfluous scenes or characters, and everything has genuine purpose and meaning.
Once Mr Potato Head and Rex had been created, there was only one lookToy Storycould reasonably have.
The very pinnacle of energetic characterisation is Edna, who entirely dominates ever scene shes in.
Edna has some superb scenes, and, unsurprisingly, the best dialogue.
Her critique of cat-walk models is classic: Supermodels.
Nothing super about them… spoiled, stupid little stick figures with poofy lips who think only about themselves.
Go, confront the problem.
But Bird isnt the only top-notch voice talent on offer here.
Both Craig T. Nelson as Bob (Mr.
Incredible) and Holly Hunter as Helen Parr (Elastigirl) are beyond perfect.
So, weve got a serviceable plot, brilliant characters and design, what else do we need?
ForThe Incrediblesthey hired Michael Giacchino, whose credits also include both Ratatouille and the recentStar Trek.
He wasnt the first choice, incidentally.
It was originally the Bond composer, John Barry.
Personally, I was transported back to the sixties, where solo-plucked rifts blended into full orchestral menace.
