Still not sold on a home theater system? Then get thee to a Best Buy, pony up for some speakers and buy “The Incredibles,” Pixar’s superhero romp that pops with every frame and looks and sounds as award-worthy as an Oscar winner should. With major box office muscle behind it, slick packaging and plenty of well-produced extras that inform viewers about both the general CGI process and this particular years-long production, disc is poised to hit the motherlode when it’s released on Tuesday.
While everything about the pic screams out for oohs and aahs, its retro, angular imagery seems to come across more vividly in cozy confines than other CGI entries save for maybe “Finding Nemo” and its vibrant, wavy sea life. With a nice story sweetly executed — among its four Academy Award nominations, one was for the screenplay — it really is the film’s colors, score and editing that make the at-home experience intimate and enveloping.
Just the opening credits alone, with the Bond-ish orchestration and the deep red hue, are indicative of the sound-and-picture marriage that’s so important to director Brad Bird and that he intensely discusses in much of the running commentary.
Pixar’s “making-of” features are always terrific, if only because there’s so much that goes into the work — and the effort comes across in cult-like enthusiasm during interviews and plenty of early art treatments. These behind-the-scenes docus carry more weight than the average live-action film’s electronic press kit that has everyone standing around explaining how hard a scene was to master. And everybody at Pixar seems so darn smart.
As for other extras, the fun short “Jack-Jack Attack” is a manic little ditty about the family’s youngest child and his very own powers that emerge when left with a babysitter (in the movie, it’s a crucial plot point). Also included is the four-minute “Boundin’,” which preceded “Incredibles” in theaters and offers up a full-on glimpse of the voice and art talents one of Pixar’s first big hires, Bud Luckey.
As was so well done during the end credits of “Monsters, Inc.” and “A Bug’s Life,” there’s a reel of bloopers that shrewdly humanizes each character, and the disc has a sneak peek at Pixar’s upcoming “Cars” (2006) and this year’s “Chicken Little” (just from the Mouse, not Pixar).
Commentary is enlightening, with Bird coming off as a little hyperactive,but the bonus material makes it clear that’s just the way he is. He was, as Pixar godfather John Lasseter attests in one of the many appearances, brought on board to shake things up so employees didn’t get too comfy with their previous success. As one staffer says: “He’s like strong coffee … I happen to like strong coffee.”