Mr Incredible - whose jaw looks as if it was carved from Mount Rushmore, though his puffy face wears a permanent expression of dim-witted bemusement - resigns in disgust after swooping down to catch a man who has hurled himself off a skyscraper.
Er, no, he's forced to by federal law.
The superhero was dreamt up by Nietzsche during the 1880s, and has been summoning humanity to transcend itself ever since.
Bollocks. Nietzsche's superman is not the first superhuman ever dreamt of. Get a fucking grip. If Nietzsche had detailed the costume Zarathustra and spoke of the big Z on his chest, you might be on to something. Otherwise, shut up and stop making yourself look stupid.
The trampling arrogance of the Nietzschean ideology briefly raises its voice in The Incredibles when the villain Syndrome jeers about high-school graduation ceremonies, which give illiterate cretins mortar boards to wear and diplomas to brandish: 'They keep creating new ways to celebrate mediocrity!'
That was Mr Incredible that said that actually.
Batman's motives are obsessively and neurotically personal: traumatised in childhood after witnessing the murder of his parents, he wants to avenge them, and his adventures are the rampages of a ruthless, irresponsible urban vigilante.
Highly debatable! Ask Mark Waid and he'll tell you Batman just wants to make sure no-one is ever murdered again. Ask Grant Morrison and he'll tell you Batman is the world's most dangerous protector, a man become strategic god as he saves the world, who does the urban vigilante bit as a sideline.
The film at once abruptly ends; no one ventures to fight the new menace
In his rush to get back and write this, it seems Peter Conrad missed the bit with the entire family gearing up to fight Cliff Clavin The Underminer.
So that's a load of old toss then.
Look at this way. The supers are told to go away. They're too much trouble and they should just fit in with everyone else. Now, the X-Men have always been used a social metaphor. Those who are different and feared. In this way, The Incredibles isn't different. It's saying we shouldn't be forced to conform to what society says and everyone is getting hung up on the fact that the metaphor it uses can punch through steel walls. I mean, the Supers are shown as stupid and vulnerable and ultimately human throughout the film, from unsafe fashion choices to Mr I's dismissal of Buddy (The villain's called Buddy? D'you see?) setting up the whole plot. Bob Parr (Parr? D'you see?) doesn't sit and plot how to dominate and crush all those meddling little guys but sits with Lucius (alright, there's probably no meaning to this name) listening to the police scanner to save lives. One more time: Superman != Nietzsche's Superman.
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Date: 2004-12-08 07:50 am (UTC)Cliff ClavinThe Underminer.So that's a load of old toss then.
Look at this way. The supers are told to go away. They're too much trouble and they should just fit in with everyone else. Now, the X-Men have always been used a social metaphor. Those who are different and feared. In this way, The Incredibles isn't different. It's saying we shouldn't be forced to conform to what society says and everyone is getting hung up on the fact that the metaphor it uses can punch through steel walls. I mean, the Supers are shown as stupid and vulnerable and ultimately human throughout the film, from unsafe fashion choices to Mr I's dismissal of Buddy (The villain's called Buddy? D'you see?) setting up the whole plot. Bob Parr (Parr? D'you see?) doesn't sit and plot how to dominate and crush all those meddling little guys but sits with Lucius (alright, there's probably no meaning to this name) listening to the police scanner to save lives. One more time: Superman != Nietzsche's Superman.