Incredibles 2 and Hereditary have a thing or two in common about family (I’m not kidding)
Two of the best films from the first half of the year are on completely opposite ends of the audience spectrum but they share some familiarities that diverge only when viewed through the genre prism
With apologies to Deadpool 2, Infinity War and Death of Stalin, Incredibles 2 is so far the most unfiltered joyful movie experience I’ve had this year. It’s not even close really. The sheer, giddy thrill that Brad Bird releases is on par with what the original so brilliantly succeeded at 14 years ago. Beginning literally at the moment the first one left off gives the sequel a surge of immediacy and narrative thrust. Something that invariably waylays highly anticipated sequels. As if they’re not sure how to navigate the waters they find themselves in. Bird is able to essentially to create a natural progression of many of the story elements from the original that have become shockingly prescient as the superhero genre has become the preeminent box office and cultural draw worldwide.
Whereas Hereditary isn’t exactly as…joyful. It draws on classic horror tropes — weird kid, the occult, house in the woods, people doing things no rational mind would do in those situations — with a determined slowburn narrative that refuses to submit to the usual temptations of the genre. Building a terrifying sense of dread. It’s the kind of horror film that is becoming more and more prevalent these days. Following in the footsteps of It Follows, Get Out and The Witch just to name a few — the prestige, high brow horror. Crafted with fantastic detail and powerful performances. The film is beautifully shot and has a distinct left of centre…vibe, as Darius from the television series, Atlanta would say. It lingers in the crevices of the mind from the sheer power it creates from what frightens us the most — both out in the open and what hides behind our eyes. It’s final shot both an analog of the control and perfection troubled and broken people seek outside their own minds, and the inevitable prisons that such pursuits form. Sometimes there’s no way out.
Both films deal with family legacy, secrets, the strain that that would place on members, sibling rivalry, strange powers coming to the fore. But Hereditary is the only one with severed heads, thank god, although some poor families found themselves face to face with the terrifying trailer. One could imagine how they had to explain THAT to their kids afterwards.
Pixar certainly don’t sugarcoat serious topics in their films (mostly). They made a film with freaking emotions as the main characters for crying out loud. It’s a formula that allows for an almost universal connection to story and character that seems to transcend animation and genre. Superhero, post apocalyptic sci-fi, coming of age, heists, prison breakouts, throwback adventures— whatever the framework, Pixar has something powerful to explore in it. Which usually ends up with a pool of tears once the credits roll. While some of their films have flirted with horror elements — and there are certainly some terrifying moments throughout Pixar films — they’ve understandably never gone full horror. Hereditary is obviously full horror. It also highlights the perspective and influence that genre elicits upon story and character.
Film genre rub up against each other more than we probably realise. The difference coming with what a particular genre brings to the table, the audience's expectation and history with that genre, and how filmmakers approach working and twisting the genre to the story. It provides a variety of ways to make sense of the world. In Incredibles 2 the superheroes are still outlawed, looked on with suspicion, shaped by how the public perceives them. And while Elastic-girl becomes the face of public rehabilitation blitz, Mr. Incredible is faced with the rigours of modern day parenting. While it’s constantly hilarious and inventive, the film never shys from how difficult it can be for a family dealing with challenges both within and without.
It is similar to Hereditary’s story of the Graham family coming to terms with the death of their matriarch and the secrets that were seemingly buried with her coming back to frightening life. It never relents either, opening up long suppressed emotions, rapidly fragmenting the family with little hope of re-connection. And even when an opportunity does present itself, it backfires spectacularly, as if they are powerless to stop what the family truly is. Genre gives us a different playground here. We know bad things will happen. What little light there is in the darkness will be snuffed out. We’re always figuratively looking over the shoulder, hands unconsciously gripping the sides of the recliner, eyes wanting to close but desiring to witness it all fall apart. The forces that clash with the Graham’s is too much for them to overcome.
Each film highlights the importance of family and the pervading influence it has on our lives. In Hereditary, it’s destructive and inescapable. Something that should have been hidden but was too powerful to remain so, despite the family’s best efforts. In Incredibles 2 it’s a warm embrace, empowering and accepting. The changes in their lives and how the world perceives them testing their bonds but never breaking them.
What’s more, Incredibles 2 comes across of the superhero as an ideal, set in a place out of time yet incredibly relevant to our own world. Set piece after set piece highlights the advantage that animation has over live action film when it comes to portraying superheroes. It’s not breaking physics but it warps it to such great effect — from the opening face-off with the Underminer, Elastigirl’s high speed chase down of a train and her helicopter rescue of an ambassador sympathetic to the supers cause to the final extended showdown where a cavalcade of powers is unleashed to full effect — the film is a visual feast. The jaw dropping, the laughs giddy, the wonder at such craftsmanship and inventiveness on display, the miracle that this all works so definitively and inevitably seamlessly, as if it was always going to fall this way. It’s not even a relief that it’s that good, it operates at a level of confidence that the very, very best Pixar reside in.
