“People Like Me, We Live In The Past. You Got People That Need You Now. You Got Everything To Lose, This Guy Has Got Nothing To Lose…”
Boosting the career of Ryan Coogler into the international stratosphere, 2016’s Creed remains arguably the most entertaining and thrilling entry into the Rocky franchise since the Oscar winning original, one which brought the leading boxing film series back into the eyes of critical admiration and most crucially, managed to place Everton’s beautifully old fashioned Goodison Park onto the big screen. With Coogler too busy to return to directorial duties, American filmmaker Steven Caple Jr. takes the reigns for a sequel which sees Michael B. Jordan’s (Black Panther) Adonis Creed be crowned as the new heavyweight champion of the world after a successful win against former foe, Danny “Stuntman” Wheeler, a title which is soon challenged from across the East when Creed is called out to partake in a high profile grudge match against the son of Dolph Lundgren’s (The Expendables 3) Ivan Drago, the Soviet Union muscle machine responsible for the death of Creed’s father in Rocky IV. With stakes higher than ever before, Creed II follows a very familiar and welcome filmic sensibility to Coogler’s re-shuffling of the tried and trusted boxing genre back in 2016, with Caple Jr. using the most cinematic of sports as a secondary measure to a story which centres on notions of grief, regret and ultimately redemption within a movie which wonderfully offers once again a much deeper and thematically complex narrative backbone than one would expect from what is essentially a big budget Hollywood sporting blockbuster.
By immediately accepting its’ role and responsibility of the Hollywood sequel with welcome arms from the offset, Creed II utilises a two hour plus runtime to balance expanded characterisation with gorgeous sporting spectacle, and with a central key narrative arc regarding the pressures of living up to individual legacy running parallel within both the tightly wound Creed party and the fiendish Drago camp, Caple Jr.’s movie impressively manages to focus enough on both protagonist and antagonist to allow an empathetic view into the trials and tribulations of their individual lives, ones separated not only by country but by lifestyle too. Offering bolder and bigger orchestrated set pieces, including not one, but two superb fights involving Creed and Drago, the narrative at times does sway into cliche, particularly to audiences already well versed in the ways and means of the Rocky franchise, but with beautiful dialogue and complex character development which carries on from the groundwork already put in by Coogler and co in the film’s predecessor, emotional involvement is achieved with astounding ease, resulting in you peering through your fingers as you witness the young Creed battle through broken ribs and busted eyes against the intimidating and physically mountainous presence of Florian Munteanu’s similarly youthful Drago. With the choreography of the central fights executed to an excellent degree and the long awaited ringside reunion between Stallone and Lundgren as gleefully exciting as the diner scene between Pacino and De Niro in the masterful Heat, Creed II is everything I expected from a follow-up to one of my favourite films of 2016 and even without the presence of Ryan Coogler, the latest Rocky picture is superb sporting cinema.
Overall Score: 8/10
“And Now For The Million Dollar Question: Do People Assume All Your Problems Got Solved Because A Big Strong Man Showed Up..?”
Continuing on from 2012’s highly entertaining animated spectacle, Wreck-It Ralph, Walt Disney Animation Studios’ latest venture sees the return of the titular well-meaning and reluctant arcade game villain, voiced once again by the one and only John C. Reilly (We Need To Talk About Kevin), who continues his blossoming relationship with Sarah Silverman’s (Battle of the Sexes) bubblegum racing princess, Vanellope von Schweetz, in an adventure which follows the atypical cliche of most movie sequels by offering something bigger, bolder and particularly in the case of Ralph Breaks the Internet, a movie which thrives on being rather quite barmy. Directed by the working couple of the returning Rich Moore and Zootropolis screenwriter, Phil Johnston, the second installment in the Ralphverse pretty much continues on from where its’ predecessor ended, with Ralph, Vanellope and the motley crew of arcade game characters carrying on with their wildly colourful existence within the confines of a universe full of retro throwbacks and particular designs which seem to make certain fanbases in the world giggle with utmost joy when seeing their favourite characters appear on the big screen. Wowed by the introduction of the unpronounceable “WiFi” plug which is brought into the arcade by the aged, behind-with-the-times owner, Ralph and Vanellope soon journey into the the new area after the latter’s game, Sugar Rush, is unplugged due to an accident indirectly caused by Ralph himself.
Whilst the central storyline to Ralph Breaks the Internet undoubtedly fails to be as straightforward, streamlined and easy to follow as its’ predecessor, moving from one plot point to another and then to another again in the spirit of George Lucas at his insufferable worst, the most surprising aspect of the movie is the almost uncanny similarity to the truly awful, The Emoji Movie, with varying familiar themes regarding on-the-nose product placement and the darker, seedier side of the world wide web all bringing to mind how terribly wrong everything involved with that particularly movie ultimately became. Fortunately for Ralph and co, Disney’s attempt proves much more successful, blending the wide range of internet-based notions to a much more effective degree which even manages to suppress the annoying factor of the obvious advertisement, and with crisp, well designed and admirable animation to soak up, Ralph volume two is rife with astronomical levels of detail including numerous, off-centre comedic asides which in a similar vein to The Lego Batman Movie, will undoubtedly require subsequent viewings in order to locate every single easter egg on offer. With effective guest voice actors including Gal Gadot (Wonder Woman) as a Death Race inspired, super-cool racing driver and Taraji P. Henson (Hidden Figures) as a social media obsessed entrepreneur, a trippy final act filled with animation spectacle at its’ finest and a particular scene involving Disney Princesses which is the finest animated comedic set piece since everything involving Jack-Jack in The Incredibles 2, Ralph Breaks the Internet is a more than adequate sequel which ticks all the boxes for all-round family friendly animated adventure.
Overall Score: 7/10
“Are You Not Lisbeth Salander, The Righter Of Wrongs? The Girl With The Dragon Tattoo? The Girl Who Hurts Men Who Hurt Women..?“
With the rather lacklustre attempt to revitalise Stieg Larsson’s “Millennium” trilogy to an American audience after the success of the Noomi Rapace starring Swedish set of movies back in 2009, the David Fincher adaptation of The Girl in the Dragon Tattoo starring Rooney Mara and Daniel Craig in 2011 was planned as a kickstarter for a fresh release of English speaking crime movies focusing on the intertwining lives of both journalist, Mikael Blomkvist, and vigilante hacker, Lisbeth Salander. With the subsequent Fincher movies placed on indefinite hold in the years that followed, The Girl in the Spider’s Web comes to cinema with a brand new director, a new batch of actors and a script based on a novel by Swedish author, David Lagercrantz, who has subsequently continued the works of Larsson who sadly passed away before the original movies came into fruition. Directed by Fede Álvarez, famous for the rather entertaining one-two of the The Evil Dead remake and Don’t Breathe, and featuring the wonderfully agile Claire Foy (First Man) in the lead role, the latest Salander-led adventure unfortunately fails to live up to the promise of the Uruguayan’s previous two features, lacking the panache and darkened style which seeped through Fincher’s adaptation whilst failing to offer anything new to a series which seems to have already sailed past its’ sell by date.
If remembered for anything, Larsson’s writing contained subject matter which teetered on the edge of bad taste, combining sexualised violence with a brutal sense of hardened realism evidenced rather memorably in The Girl With the Dragon Tattoo in which Salander’s rapist is punished by rather extravagant if justified means, and even with Álvarez at the helm, a filmmaker not exactly new to the world of cinematic nastiness, The Girl in the Spider’s Web feels surprisingly tame as it manages to come across as a near 12A rather version of the franchise with no signature grit or substance, emphasises by a bland, overly sterile tone seeping through with no effective levels of tension or threat whatsoever. With a screenplay which centres on long lost sisters, nuclear disaster and a central hacking superhero who seems to have breathed in the James Bond effect of being completely invincible, there have been episodes of Doctor Who which have been more believable, and even with Foy in the lead role at least attempting to bring some sort gravitas to the role with the familiar funky hairstyle and stern, wet flanneled look slapped across her face, she is ultimately let down by sloppy and lazy writing which leaves her well and truly behind her predecessors in terms of overall effectiveness in her portrayal of Salander. With a brilliant supporting cast including the likes of Sylvia Hoeks and Vicky Krieps being rather wasted considering their equally memorable roles in Blade Runner 2049 and Phantom Thread respectively, their brief appearances only resulted in wishing the film would end as soon as possible in order to go and revisit those particular movies which in terms of cinematic levels of excellence, are in a different universe completely.
Overall Score: 4/10
“He Killed My Friends, And Now He’s Back To Finish What He Started, With Me. The One Person Who’s Ready To Stop Him…”
Acting as a direct sequel to John Carpenter’s influential 1978 horror classic and thus disregarding and retconning the many, many franchise films which followed, Halloween circa 2018 sees the return of Jamie Lee Curtis as Laurie Strode for a reunion with the iconic figure of the knife wielding Michael Myers forty years after the infamous Haddonfield Murders in which a handful of teenagers were brutally murdered by the hand of the ghostly masked serial stalker on Halloween night. Brought back to the big screen by Stronger director David Gordon Green, Halloween acts as both a respectful and intelligent ode to the Carpenter classic whilst offering enough fresh and interesting levels of substance which puts it above and beyond the many failed attempts to reignite particular horror franchises in an age when studios constantly feel the need to regurgitate old ideas for the sake of a quick and meaningless buck. With a barnstorming central performance from Curtis and a brutal, terrifying central antagonist in the form of Myers, Green’s attempt at resurrecting one of horror’s most iconic franchises is a resounding success, mixing classic genre undertones with ferocious slasher violence within a movie which indeed treads over very well worn ground but does so with an element of style and outrageous levels of joyous fun.
Kicking off by introducing to the audience a Myers securely kept within the confines of a particularly creepy asylum for the insane, the opening quarter of the movie takes its’ time in developing characters both old and new, particularly that of the now expanded Strode family, where an isolated and aged Laurie channels her best Sarah Connor impression by having used the majority of her life to prepare for the return of her own personal “boogeyman” at the cost of rejecting the chance to be both a mother and grandmother to both Judy Greer (Ant-Man) and Andi Matichak’s (Orange Is The New Black) Karen and Allyson. Whilst the majority of the audience are astutely aware that particular characters are undoubtedly headed for the chopping block when the inevitability of death is sprung upon the town of Haddonfield once again, it is to the film’s credit that once Myers begins his murderous ascent, the brutal and bone crushing violence is genuinely horrifying and knowingly contrasting to Carpenter’s original in which on-screen gore is sparse and heavily implied, and with genuinely shocking characters deaths and an array of tense set pieces, Green fully embraces and understands the essence of what made Carpenter’s film so powerful and simply updates it for a contemporary audience with alarming success. With enough clever odes to the franchise to keep the hordes of horror fans dancing with glee, including very familiar yet inverted camera shots and knowing dialogue which brings to light particular plot threads throughout the Halloween series, Green’s movie is made all the better by the enigmatic presence of the wispy haired Curtis, whose outspoken perception of the film acting as metaphor for the #MeToo generation also adding an extra layer of substance to a movie which managed to hit all the right notes, particularly from the point of view of slasher fans who will lap Green’s movie up like Michael Myers in a knife shop.
Overall Score: 8/10
“The Country Is In A State Of Complete Chaos And The Universe Sends Me You…”
Winning the award for least anticipated sequel of the year, Johnny English Strikes Again sees the return of Rowan Atkinson’s bumbling British secret agent following on from his first appearance on screen in 2003 and its’ sequel, Johnny English Reborn in 2011. Directed by Northern Irish big-screen debutante, David Kerr, the third installment of the spy spoof franchise is ninety minutes of pretty much what you would expect from a Johnny English movie, offering PG friendly slapstick comedy within a selection of sketches which are marginally worked around the thinnest of narratives which sees English hooked back into the payroll of MI7 after every single serving secret agent’s identity across the globe is revealed by an unknown, tech savvy hacker. Whilst most critics will undeniably head into Strikes Again fully aware of the certainty that the next Citizen Kane won’t exactly be waiting for them inside, the real litmus test for Kerr’s movie resides in the way in which it manages to work to its’ strengths, and whilst Strikes Again fails to offer anything fresh or interesting to the catalogue of spy-spoof comedies, Atkinson’s undeniable smirk-inducing talent results in a movie preferably best watched when either drunk or with highly energetic friends. Or even both.
With a high proportion of the funniest set pieces readily available within the movie’s trailer, ranging from a diabolical attempt at utilising cutting edge virtual reality to the complete and utter destruction of a classy, world renowned yacht, Strikes Again does manage to capatalise on Atkinson’s hilarious slapstick persona to a somewhat effective degree, and with the film’s best gag undeniably an elongated riff on a similar comedic routine seen in Jon S. Baird’s 2013 black comedy, Filth, in which English feels the effect of adrenaline enhancing drugs, it’s hard to prevent smiles being cracked even when you know the film as whole is absolute tosh. With the enigmatic presence of Emma Thompson (Saving Mr. Banks) chewing the scenery as the opinionated, wine-dependant British Prime Minister, the more the movie remembers it has to at least follow some sort of plot is when it ultimately crumbles to pieces, with Olga Kurylenko (Quantum of Solace) and Jake Lacy (Rampage) managing to supply performances both instantly forgettable and agonisingly dull, and whilst it’s quite sanctimonious to hate on a film not exactly aiming for anyone other than a child-friendly audience, Strikes Again manages to be neither good nor bad, just ridiculous nonsense.
Overall Score: 5/10
“There Are Two Kinds Of Pain In This World. The Pain That Hurts, The Pain That Alters…”
With The Equalizer 2 being the first sequel in which Denzel Washington has starred in throughout his luxurious cinematic career so far, it goes to show the trust which has been established between actor and director Antoine Fuqua, a filmmaker who reunites with Washington for the fourth time after the likes of the excellent, Oscar winning Training Day and of course 2014’s The Equalizer, a film based on the 1980’s American television series of the same name in which Washington’s Robert McCall beats down on the evil of the world in an attempt to save the helpless and aid the innocent in the most violent ways possible. Jump forward four years later and McCall returns once again in a sequel which attempts to blend an It’s A Wonderful Life style story arc with gritty, hard-edge violence, culminating in a bit-part character study riddled with rather cliched twists and a strange lifeless tone which pushes the movie forward at almost walking pace, and even with flashes of brilliance at times and Washington at his mercurial best, The Equalizer 2 is still a forgettable sequel which fails to expand upon its’ predecessor in a way which warrants its’ reason for existence.
With the opening thirty minutes re-treading old ground by once again establishing McCall’s “hero for hire” type to an audience who potentially may have completely missed the first movie, Richard Wenk’s screenplay seems more interested in showing how McCall fits into the everyday lives of random residents of Massachusetts instead of actually delivering the promise of the film’s action-packed trailer, and whilst the next thirty minutes attempt to elbow in a murder mystery subplot featuring the return of Melissa Leo’s (The Fighter) Susan Plummer, Fuqua’s movie never really gets going until the final act when the film remembers it is meant to be shelved within the genre of action rather than dour, dramatic nonsense. With Pedro Pascal (Game of Thrones) providing the most obvious character deception seen in cinema this year, the real fireworks within the movie undoubtedly resides between Washington and Ashton Sanders (Moonlight), with McCall’s patriarchal relationship to Sanders’ Miles providing the best scenes of the movie, particularly one set piece in which McCall rescues Miles from a criminal-infested high-rise and emotionally spells out the tight balance between life and death. Whilst there is something within the DNA of the character of McCall which makes him undeniably watchable and interesting, The Equalizer 2 unfortunately does not carry the same sense of intrigue, resulting in Fuqua’s latest being a rather stale sequel which starves both action audiences and Washington fans alike for any real sense of engagement or emotional involvement.
Overall Score: 5/10
“We Have To Do Something And We Have To Do It Now…”
With the release of Unfriended back in 2015 one of which here at Black Ribbon was welcomed with warm, open arms and a sense of pride that the long-standing genre of horror found-footage was beginning to explore wilder and more contemporary avenues of storytelling, a sequel was something of which that did seem rather unwarranted and strange considering the undeniable one-trick pony effect of seeing a particular gimmick once may actually be more than enough the first time around. That aside, as per the conventions of modern cinema, monetary issues undeniably talk and here we have this week, Unfriended: Dark Web, a continuation of the found footage format which sees a group of unsuspecting youths being pawns in a murderous game of technological blackmail within a sequel which this time decides to drop the supernatural element of the its’ predecessor and instead focus more so on the seedier side of the web and social media with a more realistic approach, and whilst Dark Web may not be as fresh or as creepy as the body of work the movie follows on from, the latest Blumhouse Productions release is still an interesting and engaging hard-edged thriller.
With the release of the highly entertaining Searching this month bringing the cinematic format utilised by the original Unfriended to a wider audience, it seems strange to find two releases within a short time-span to focus on stories told predominantly upon the technological screens of our leading heroes, and whilst Searching was a paranoid ridden thriller which edged towards a sense of cheesiness as it reached its’ conclusion, the film’s sense of danger and threat perils in comparison to Dark Web, with its’ unrelenting bleakness and cold-hearted treatment of its’ characters particularly cruel, harbouring a violent and dark sensibility which echoed the likes of The Belko Experiment. With a screenplay which includes a wide range of technological jargon and geeky terminology, it is to the film’s credit that you never become lost or left behind as the film moves forward through plot twists and inevitable deaths, and whilst at times particular narrative resolutions aren’t entirely convincing, director Stephen Susco does utilise the talents of the film’s young cast to provide some solid performances which paper over the cracks which often appear, and whilst Dark Web strangely seems to leave the common jump-scare tactic of horror movies behind, its’ focus on the seedy and the uncanny result in the movie being a sequel which attempts something fresh and just happens to succeed.
Overall Score: 6/10
“You Can Do It. You Can Do Anything. You’re The World’s Greatest Grandma…”
Tasked with being the first Marvel release to follow on from the universally accepted awesomeness of Avengers: Infinity War, Peyton Reed’s second instalment of Scott Lang/Ant-Man’s own MCU journey hits cinemas this week, reuniting audiences with a large proportion of characters from 2015’s excellent origin story as it delves deeper into the notion of the quantum realm and the hopeful return of Michelle Pfeiffer’s (mother!) Janet van Dyne, the original embodiment of The Wasp who was lost many years ago in order to save the world from nuclear disaster. With a zippy pace and a childish playfulness which parallels completely with the two preceding Marvel releases within 2018, Ant-Man and the Wasp undoubtedly falls into the MCU category of “great fun but not particularly necessary” alongside previous examples such as Thor: Ragnarok and Spider-Man: Homecoming, and whilst come the closing credits Reed’s movie falls down under the weight of much better entries within the ever-expanding Marvel Universe, the razor-sharp comedy and fundamentally likeable characters at the heart of the drama all succeed in making Ant-Man and the Wasp a thoroughly enjoyable throwaway superhero ride.
With the Bond-esque sensibility of Black Panther and the gargantuan epic space opera of Infinity War proving to be two of the strongest entries within the MCU so far, it’s fair to say that Reed’s latest follows closest to that of a down-and-out comedy, one which stays well away from the R-rated expletives of Deadpool to keep within the remit of 12A rated family friendliness, but also one which feels comfortable poking fun at not only its’ titular character’s fundamental absurdity but the genre itself, with a bundle of well constructed gags eager to please casual and die-hard MCU fans alike. With each of the primary cast all thoroughly enjoying themselves, the dryness of Michael Douglas’ aged Hank Pym mixed in with the brilliance of a Paul Rudd who seems to have been born for the leading role offers the chance for constant giggles, a feat not undone when the movie switches to a more dramatic tone in order to introduce not one, but two leading villains in the form of Hannah John-Karmen’s (Ready Player One) Ghost and Walton Goggins’ (The Hateful Eight) excellent arms-dealing criminal, Sonny Burch. With the action and spectacle offering a much more expansive usage of the shrinking technology utilised by the movies’ heroes, a concluding car chase wraps the film up nicely, leaving the tone of the film within the up-beast positivity in which it began, and even with a post-credits sequence which ties into the mould of the universe set up within Infinity War, Ant-Man and the Wasp is an MCU movie which is undoubtedly great fun, but one which too feels oddly irrelevant considering the dramatic turn the franchise has taken in wait for next year’s concluding arc to the MCU as we know it.
Overall Score: 7/10
“The End You’ve Always Feared Is Coming. It’s Coming, And The Blood Will Be On Your Hands…”
With screenplays for the likes of The Usual Suspects and Edge of Tomorrow on Christopher McQuarrie’s cinematic CV, it seemed only natural that McQuarrie would soon helm the US’s most longstanding and successful contemporary action franchise, where the transition from sole screenwriter to director has formed a winning partnership with Tom Cruise since the release of Jack Reacher in 2012 and the critically acclaimed Rogue Nation three years later. Returning to the fold this week with Fallout, the sixth Mission: Impossible release, McQuarrie reunites with the majority of his cast from Rogue Nation including Rebecca Ferguson (Life), Simon Pegg (Star Trek) and Alec Baldwin (The Departed) as Cruise’s Ethan Hunt is tasked with retrieving stolen plutonium cores before they fall into the hands of “The Apostles”, a terrorist cell with connections to “The Syndicate”, the primary antagonists from Rogue Nation which featured Sean Harris as their treacherous and anarchic leader. With spectacle in abundance, a barrage of breathless action sequences and an editing pace which holds your head in a storm of jaw-dropping disbelief, Fallout is the ultimate summertime blockbuster, an action movie which mixes style and substance as the best genre movies always do and a shining example of how a series can expand and improve when made with such precision and expertise.
With the franchise in general being more and more renowned for Cruise’s lust for practicality when it comes to stunts and set pieces, Fallout features some of the series’ best examples yet of Cruise at his most insane and death-defying. Whether it be a high-speed The Dark Knight inspired vehicle heist, a Casino Royale and Jason Bourne-esque rooftop chase, or a concluding aerial helicopter pursuit which channelled the opening act of Sam Mendes’ Spectre, Fallout perfectly blends the lines between fiction and reality, offering high-octane action on a constant basis in front of beautiful cinematography by Rob Hardy (Ex Machina, Annihilation) which makes you question how exactly a film which sees Cruise being put through the absolute wringer can be made without an over-reliance on digital effects. With an opening thirty minutes which does strangely drag after being bulked down with a crescendo of generic spy-genre exposition, Fallout isn’t perfect but is undoubtedly saved by the remaining two hours which provide a cracking amount of evidence for being the best example of the genre since Mad Max: Fury Road, and with Cruise and co. so obviously enjoying exploring the capacity for how far the action genre can be pushed to the limit before certain death, from an audience perspective, long may it continue.
Overall Score: 8/10
“It’s Time To Make Some Wrong Things Right. Help Me Bring Supers Back Into The Sunlight…”
With the likes of Inside Out, Zootropolis and this year’s Coco categorically proving that the twentieth century has been open ground for a wide range of superb animation releases, the much anticipated return of the power-inflicted Parr family in Incredibles 2 after a prolonged fourteen year wait since their first appearance on the big screen back in 2004 mightily continues the winning streak which Disney is currently relishing in. Directed and written by Brad Bird, the brains behind the original, whose ventures in between the two films have included the rather enjoyable Mission Impossible: Ghost Protocol and the not so enjoyable Tomorrowland, Incredibles 2 is a uproariously entertaining animated blockbuster, one which attempts to balance two separate story-lines as it revels in reverting particular familial stereotypes and one which ties into the conventional superhero mould by blending action spectacle with an abundance of rib-tickling humour, and whilst at times the twists and turns are rather unsurprising and the movie carries an overall feeling that two hours is far too long for most movies, let alone an animated feature, Brad Bird’s fourteen year project in the making does have flaws, but thankfully the many positives result in his latest feature being a damn fun ride.
Ditching the real life time gap and picking up three months after events of the first film, Bird’s screenplay sees the Parr family attempting to rebuild their life after the outlawing of superheroes, and with the help of Bob Odenkirk’s (Breaking Bad) Winston Deavor, a superhero-loving millionaire, the matriarchal figure of Helen Parr/Elastigirl (Holly Hunter, The Big Sick) is placed front and centre of a scheme to reintroduce powered saviours back into favour of the world’s ever-watching eyes. With Helen’s absence therefore, the job of stay-at-home parent falls to Bob Parr/Mr. Incredible (Craig T. Nelson, Gold) who attempts to juggle the stress of managing his three children and wife’s new found success alongside the threat of the ominous Screenslaver, a tech-savvy terrorist type whose intentions seem to be aimed towards the newly popular band of superheroes. Jumping in and out of the two main narrative strands throughout the course of the movie, the primary superhero plot involving Elastigirl and her discovery of Screenslaver is solid enough fun, incorporating flashy and bright action set pieces including a high speed monorail chase and some epilepsy inducing boss battles, however the real winning streak of the movie falls in events back home with Mr. Incredible, particularly in the discovery of infant Jack-Jack’s new-found powers, an extended gag which offers a wide range of set pieces which genuinely land up there with some of the best on-screen comedy I have ever seen. With eye-catching animation, a heartfelt centrepiece message at the centre of the story and a heavy balance of enough there to fulfil both child and adult audiences alike, Incredibles 2 isn’t exactly groundbreaking, but it offers enough of a good time to be more than worth a visit to see its’ ravishing pleasures.