Hereditary

Empathy is a funny old thing. The ability to put ourselves in someone else's shoes and imagine what it must feel like to be in the same situation as them is, as far as I'm aware, a uniquely human trait, one that allows us to be more compassionate than any other creature on the face of the planet. It's also something that we often choose to ignore when it might be an inconvenience, shutting ourselves off from the plight of others if it might disrupt something as simple as the way we like to think of the world, or the ease with which we go about living our lives. Empathy is behind all that humanity should be most proud of; our ability to ignore it is responsible for our most terrible acts.

Which is part of what makes Hereditary, a film that plays with empathy throughout, such an interesting movie. It's a horror film first and foremost, but behind that there's a story of family, loss and the strain that can put on any relationship that ultimately ends up being Hereditary's most compelling feature. Yes, it's a film that asks more of its audience than a lot of horror films do, both in the level you're expected to engage with the material and in accepting a handful of what can only be described as goofy moments - but it's also got a lot more to offer than a lot of horror films too, a trade off that is at least in my eyes completely worth it.

For all the traditional horror that Hereditary throws at its audience come the finale, it's ultimately the tense family drama at the heart of it that holds most of the film's potent scares, all of which are rooted in our ability to empathise - or more accurately, the fact we can't help but empathise - with these characters and the situations they find themselves in. We're left to sit and stew with this family as their situation only grows worse through a series of slowly escalating but wholly believable events, pushing them into conflict with one another in understandable ways and only shortening the fuse on this already ticking time bomb. This is where a lot of Hereditary's tension comes from, simply seeing the breakdown of this family in pretty much real time, which when combined with the masterful way that Hereditary doles out new information about this family and their history together adds up to create a deeply engaging piece of drama.

But the real genius of this is that it never feels like a simple drama. That might be the area that the first half of Hereditary's story is almost solely operating in, but the actual film-making is in full blown horror mode throughout, lending even the most otherwise ordinary of scenes an extra sense of dread and tension that only adds to the films distinctive atmosphere and sense of mystery, again long before Hereditary actually plays its hand. The sound design is phenomenal, ensuring that when a noise is meant to startle or creep you out it's easily able to do so, and the cinematography is frankly like nothing I've ever seen before, playing with negative space, lighting, movement and even your own eyes' ability to adapt to darkness in order to keep you off balance and frantically searching the screen for what you think might be hiding there throughout.

Everyone has their part to play in Hereditary, from the overtly creepy daughter played by Milly Shapiro to the resigned father played by Gabriel Byrne, but ultimately it's Toni Collette and Alex Wolff as the mother and son respectively who deserve the most recognition. They're the two most interesting, relatable characters in the film, and the relationship between the two of them is vital to the film's success - a success that is never in danger thanks to the powerful, vulnerable and deeply human performances they're each giving. 

This is a film that made me more tense and more anxious than any film I've seen this year, a feat made only all the more impressive by the fact that this is the first feature length film from director Ari Aster. It's not for everyone, but for those who have also enjoyed the more artistically inclined horror films of the last few years, Hereditary is going to be nothing short of a really great couple of hours.

Incredibles 2

Incredibles 2 from Pixar, was a must-see movie at this year's Edinburgh International Film Festival. Or at least, it was for me. 

The misunderstood supers are back in a sequel in which Jack-Jack shifts towards centre stage, much like the Minions who increasingly stole the spotlight in the Despicable Me series. This time, it’s Bob, aka Mr Incredible, balefully voiced by Craig T Nelson, who’s left holding the baby while his altogether more glamorous partner Helen, aka Elastigirl is out fighting crime. She has been enlisted by a shiny-suited PR guru to help rehabilitate outlawed superheroes via a charm offensive involving runaway trains, political lobbying and a new bike, the Elasticycle.

Back at home, Bob is facing his own challenges: helping Dash with his maths homework, nursing Violet through the traumas of her first teen crush and containing Jack-Jack’s emerging powers, which are as scary as those showcased by the monstrous child in that notorious Twilight Zone episode It’s a Good Life. These include multiplication, transformation, immolation, laser-beam eyes and a Poltergeist-style ability to disappear into the fourth dimension. Oh, and he still needs his nappy changing.

The first Incredibles is arguably amongst the best Pixar films, which is saying a lot. It has heart, humour, depth, and it’s a better superhero flick than some of Marvel or DC's recent outputs. Incredibles 2 – while not as good as its predecessor – also has these qualities. Everything you and I loved about the first film is there. With its fab future-retro designs accompanied by Michael Giacchino’s Bond-inflected score, Incredibles 2 has snappy charm to spare. We’ve seen many of the visual gags before but that doesn’t make them any less effective. Elastigirl is stretched to breaking point several times in the first few minutes alone without wearing down our patience. Dash is shown more than once fiddling with remote controls and causing havoc as he does so. The family dynamic is what makes the Incredibles series special, and seeing Mr. Incredible at home with the kids far exceeds following Elastigirl on her adventure (though that’s fun too). It feels real and allows you to connect with this fictional family of supers. Watching them interact is still so relatable and funny.

And on top of all the fun, director Brad Bird inserts a powerful message. Whereas the first film was all about celebrating what makes you special, this sequel is more about trust. It’s about helping others, and both trusting and allowing others to help you, instead of everyone just looking out for themselves. It very much plays off of the fear and paranoia plaguing our society today. There’s even a line early on in the film about how the government doesn’t trust people who do good just because it’s the right thing to do. It’s very relevant, and a good lesson for both kids and adults in the audience.

However, the voice acting in Incredibles 2 does take a step down from the last film. It’s not bad; most of it is actually pretty good. But there are a few scenes where the actors just don’t seem to jive together like last time. In fact, at times it feels as though the lines were recorded separately and just mixed together. Which very well could have been the case, and is a common practice in animation. It doesn’t always flow properly here though, and can be a little distracting.

Overall, Incredibles 2 did not disappoint after 14 years of waiting. Though it doesn’t quite match the first film, it’s still a worthy successor and a rewatchable Pixar modern classic.