Elastigirl is the badass star of Incredibles 2.
“In the 14 years since The Incredibles came out, superhero movies have exploded. Circa 2004, we got maybe two a year; in 2018, Incredibles 2 is the third such film within the past two months.
In that context, it’s easy to imagine Incredibles 2 getting swallowed up by the wave, buried under the meta jokes of Deadpool and the ambitious world-building of Marvel. Instead, however, Incredibles 2 rises above it. Here’s how.
The action is, well, incredible
Incredibles 2 opens with a city-destroying battle of good versus evil that’s become a staple of the genre. But Pixar pulls it off with such style and finesse that it retroactively makes the competition look sloppy.
The choreography is sharp and dynamic, playing with each character’s specific strengths and weaknesses. Elastigirl’s bendiness contrasts and complements Mr. Incredible’s brute force, while Dash’s super-speed combines nicely with Violet’s force fields.
Meanwhile, the camerawork and dialogue keep our focus on the characters, not just the spectacle. It serves as quick reintroduction to the leads, their personalities, and their relationships, in case your memory’s grown fuzzy after a decade and a half, and underlines why this particular fight is important to them.
It’s like the best of the Avenger-on-Avenger bits from Captain America: Civil War or Avengers: Infinity War – only better, because….”
Stranger Things Season 3 receives Rave Reviews from Critics
Midsommar Review – 5 Stars!
Florence Pugh is plunged into a terrifying pagan bacchanal in a magnificent folk-horror tale from Hereditary director Ari Aster
“There’s nothing cosy about these midsummer murders, and Midsommar could turn out to be folk-horror for the Fyre festival age. Ari Aster is the film-maker who made his feature debut just last year with the chiller Hereditary, and now presents us with this fantastically sinister and self-aware Euro-bacchanal, clearly inspired by the 1973 classic The Wicker Man. And that is not the only riff. When Hereditary came out, I guessed (correctly, as it turned out) that the director was thinking about Bergman’s Cries and Whispers. I’m now going to bet 20p that before shooting Midsommar, Aster took another look at Tarkovsky’s The Sacrifice.
Midsommar is an outrageous black-comic carnival of agony, starring charismatic Florence Pugh in a comely robe and floral headdress. It features funny-tasting pies and chorally assisted ritual sex, with pagan celebrants gazing into the middle distance and warbling as solemnly as the young dudes in the Coca-Cola TV ad about teaching the world to sing. It’s all set in an eerily beautiful sunlit plain, bounded by forests and lakes. This is supposed to be somewhere in northern Sweden, but was filmed in Hungary, and Aster, cinematographer Pawel Pogorzelski and production designer Henrik Svensson have collaborated on what are surely digitally assisted images: the sky and fields becoming a bouquet of vivid and beautiful blues and greens. The music from British composer Bobby Krlic (AKA the Haxan Cloak) is sensually creepy………………………”
What’s My Name: Muhammad Ali review – from prodigy to legend
Part one of Antoine Fuqua’s film shows the transformation within a decade from 12-year-old boxing novice Cassius Clay into the heavyweight champion of the world
“I asked my mother when I went to church on Sunday: ‘Why is everything white? What happened to all the black angels?’”
So Muhammad Ali told an interviewer, before giving a knowing look and – boom! – the punchline. “Black angels are in the kitchen preparing milk and honey.”