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I thought it was decent and I'm glad people are enjoying it, but honestly it's TYOOL 2018 and I'm way past bored of "Hey check it, yo, hey what if...listen, what if...what if people......don't trust superheroes? Eh?? Ehh?????" plots in muh muvies. The villain's motivations in this just felt particularly slapdash and skimpy in a way that I'm even now trying to process. "I'm gonna help my brother make people like you again...just so I can make people dislike you again! WITH MURDER! Because my parents trusted heroes to save them and then got killed! Because the heroes were illegal!" Wait what Maybe my expectations were too skewed because the first Incredibles was one of my favorite movies ever because it had such interesting things to say about the superheroic genre. This one...ultimately, I don't know if it had anything to say. And not just about superheroes but about anything. The best parts of this film are when they were dealing with the family issues, but then ultimately those issues take a back seat to the weird villain plot and then never get brought up again. The tension between Bob and Helen and their insecurities is never resolved. Dash gets nothing to do. Violet's arc is...nothing. It almost felt like a random episode of a hypothetical Incredibles TV show that got stretched () into a movie-length...thing. Also the sister character looked so much like the female lead in Megamind that I seriously thought for a while that they were crossing over the two universes.
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# ¿ Jun 17, 2018 06:12 |
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# ¿ Apr 27, 2024 03:18 |
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"Must there be a Mr. Incredible?" "There is." Bob is the archetype of a DC hero whose degree of powers make him ill-suited for dealing with collateral damage and is constantly forced to answer difficult questions for which there are no simple answers. Helen is equivocal with a Marvel hero for whom crimefighting always goes smoothly, but will also always 100% have to deal with someone who she thought was a good person turning out to be bad. In this essay, I will
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# ¿ Jun 19, 2018 06:06 |
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I got the message of Bao just fine (I'm Chinese ), but the part I didn't quite get was which parts were supposed to be...the mother's hallucinatory perspective? Or whatever? Like...how does the timeline go, precisely? Is it: Lonely woman is lonely -> has a real live son, who she imagines as a cartoon bun -> "eats" him, aka drives him away with her smothering -> reconciles with his real human self, the delusion of the cartoon bun shattered at this point Or is it Woman had a falling out with her actual human son, is lonely -> starts dreaming of a life with an imaginary, cartoon bun as a surrogate for her affections -> recreates the exact same dynamic she had with this imaginary bun that she had with her real son, ending in the same sort of falling out -> reconciles with her real human son, the delusion of the cartoon bun shattered at this point ?
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# ¿ Jul 3, 2018 21:10 |
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lizardman posted:I'll admit I found myself a little disgusted with the mother's attitude in the short. It's nice that she got over herself in the end but I was put off that the film seemed to want me to sympathize with her. Part of me wanted the short to end just after she devours her food-son because it'd be a pretty good encapsulation for how terrible she's acting. There's definitely an ingrained sort of...well, it comes across as pompousness or self-importance from certain Western perspectives, but for Asian-American parents, it's this ingrained cultural expectation that you are the single most important thing to your kids and they absolutely owe you more than you owe them. It comes across in a lot of different ways, and there seems to be a specific version of this mindset that really comes across in regards to a mother and their sons' girlfriends and wives. (And it's not that this doesn't exist in Western families either, particularly in more fundamentalist demographics that also share this "unconditional love? Pfft nah, our love is totally conditional" mindset, but it's usually called out as the sort of toxicity that it is.)
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# ¿ Jul 6, 2018 20:21 |