---
title: "The Incredibles"
year: 2004
kind: "film"
canonical: "https://film.one/film/the-incredibles"
fi1m_id: "the-incredibles"
imdb_id: "tt0317705"
tmdb_id: 9806
wikidata_id: "Q213326"
fi1m_score: 88
critics_score: 89
critics_reviews: 9
published: "2026-09-14"
updated: "2026-09-18T08:37:50.471382+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# The Incredibles (2004)

Directed by Brad Bird · 1h 55m · MPA PG · Action, Adventure, Animation, Family

## Identity

The Incredibles

- **Canonical:** https://film.one/film/the-incredibles
- **Type:** Film
- **Fi1m ID:** the-incredibles
- **IMDb ID:** tt0317705
- **TMDB ID:** 9806
- **Wikidata ID:** Q213326
- **Same entity:** https://www.imdb.com/title/tt0317705/, https://www.themoviedb.org/movie/9806, https://www.wikidata.org/wiki/Q213326

**Fi1m score: 88** · Critics 89 from 9 reviews

*In a sentence:* All those superpowers and nobody can manage a quiet family conversation

> Brad Bird gives his superhero family recognisable grievances and jokes worth hearing twice. *The Incredibles* is an assured, involving adventure, with a slightly stretched running time and some awkward ideas about who deserves to stand out.

## Synopsis

Bob Parr and Helen Parr live incognito with their children, Violet, Dash and Jack-Jack. They are also Mr. Incredible and Elastigirl, superheroes whose family life involves the frustrations of fitting in while having abilities that set them apart. Craig T. Nelson and Holly Hunter voice the parents, with Sarah Vowell and Spencer Fox as Violet and Dash. Written and directed by Brad Bird, this animated adventure follows the Parrs through domestic disagreements and superhero dangers, as questions about identity, talent and responsibility become matters for the whole household.

## Review

*The Incredibles* understands how quickly a family can turn a personal frustration into everybody else’s problem. Brad Bird, who writes and directs, gives that familiar trouble to superheroes living incognito, then allows both the domestic comedy and the adventure to matter. We recommend it readily: these characters could sustain a comedy even without their powers. The film’s occasional impatience with ordinary people is worth questioning, but the Parrs themselves remain recognisable even when the writing starts lecturing us about talent.

Craig T. Nelson makes Bob Parr’s dissatisfaction funny without asking us to find it attractive. Holly Hunter gives Helen enough impatience of her own to keep the marriage from becoming a prolonged opportunity for her husband to complain. Sarah Vowell’s Violet and Spencer Fox’s Dash belong in the same family because their frustrations count, rather than serving only to inconvenience the adults. Bird’s writing is particularly good at letting an unreasonable response feel understandable; these people do not suddenly become sensible because a lesson would be useful.

Janet Lucroy, Andrew Jimenez and Patrick Lin share the cinematography credit, and their work keeps exaggerated bodies readable in conversation as well as in action. We can enjoy the expressive faces without losing track of what is happening around them. Lou Romano’s production design gives the suburban scenes enough solidity that the science-fiction spy fantasy feels like a considerable disruption to an existing life. The settings are enjoyable to look at, but they do not keep asking us to stop and admire them.

Stephen Schaffer’s editing gives the family exchanges room for irritation to develop, then makes the action easy to follow without draining its speed. That clarity matters in an animated adventure, where movement can become busy long before it becomes exciting. Michael Giacchino’s music gives the action a playful confidence, helping the film keep its sense of fun when the family tensions become sharper. The jokes do not require the danger to become a joke as well.

We laughed at the question about where a super suit has gone. There is something familiar about a man treating his inability to find his own clothes as an emergency for somebody else. Bird also voices Edna Mode, whose comic authority makes a useful interruption to all the family grievances. The gag about villains talking too much is another pleasure. These jokes grow from superhero behaviour, delivered without the weary suggestion that liking this sort of thing is embarrassing.

At 115 minutes, the film does stretch a little, and some of the plot is easier to anticipate than the family responses. There is also a clumsiness in its insistence that exceptional ability must not be suppressed. We agree that talent deserves room, but Bird can make ordinary achievement sound like something people ought to apologise for. The affection shown to the family does more to persuade us than the complaints about mediocrity. The writing is more convincing when it stays with a particular grievance.

Within the superhero genre, its distinction is how much of the enjoyment survives when nobody is doing anything heroic. Domestic scenes are often where an adventure waits for permission to start again; here we are happy to remain with the people arguing. The action earns its place because we already care about those people, and the comedy does not make them disposable. Give it the whole family’s attention, with room afterwards for an argument about who was being unreasonable.

*Fi1m score 88, published 14 September 2026.*

## What the critics say

The consensus is strongly positive, with praise clustering around Brad Bird’s blend of domestic comedy and superhero action. Most critics find that the family’s recognisable frustrations and relationships give the spectacle its appeal. The reviews repeatedly credit the animation’s expressive detail, the wit of the dialogue and the energy of the action sequences. Several also welcome the film’s willingness to explore conformity, excellence and the difficulty of keeping different parts of a life together.

The differences are chiefly matters of emphasis rather than opposing verdicts. Some critics celebrate the film’s ideas, while The New York Times finds that its intellectual ambition raises expectations it cannot fully meet. Radio Times considers it slightly overlong, though its wit and sophistication compensate. Time Out identifies loose ends in the plotting and ideology but remains enthusiastic about the playfulness. These reservations qualify a broadly shared recommendation; they do not amount to a substantial dissent.

## Straight answers

**Is The Incredibles worth watching?**

*The Incredibles* is worth watching for anyone who wants a superhero adventure in which the family arguments are as good as the action, and we scored it 88. Brad Bird's script gives the Parrs recognisable grievances and jokes worth hearing twice. At 115 minutes it stretches a little, and its lectures about talent and mediocrity are clumsier than its comedy.

**How long is The Incredibles, and what is it rated?**

*The Incredibles* runs 1h 55m and is rated PG by the MPA in the US. It is an action and adventure film.

**Where can I watch The Incredibles in the US?**

*The Incredibles* is streaming on Disney+ in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service.

**How does The Incredibles compare to The Iron Giant?**

*The Incredibles* is the more assured film, but [*The Iron Giant*](https://film.one/film/the-iron-giant) is the gentler and more tender one, and both come from Brad Bird finding warmth in stories about extraordinary abilities and belonging. The earlier film draws its adults too neatly, while the later one lets a whole household be unreasonable. Choose *The Incredibles* for comedy and action, *The Iron Giant* for a quieter story that takes children seriously.

**What should I watch after The Incredibles?**

After *The Incredibles*, try [*The Iron Giant*](https://film.one/film/the-iron-giant) (1999, Fi1m 88): Brad Bird finds warmth in another story about extraordinary abilities and belonging. Then [*Wolf Children*](https://film.one/film/wolf-children) (2012, Fi1m 81): Another mother faces impossible childcare, with more patience and a different sort of transformation.

### Reviews we read (14)

- **Radio Times**, Sloan Freer (5/5): Calls it a spectacular triumph for Pixar's computer-animated magic with genuine characters and values from director Brad Bird. Notes it is slightly overlong but finds the sophistication, wit and skill more than compensate. [Read](https://www.radiotimes.com/movie-guide/b-ph92zh/the-incredibles/)
- **The AV Club**, Scott Tobias (90/100, inferred): The critic praises it as a clever riff on superhero tropes with character-driven storytelling and auteur touches from Brad Bird. They single out the exploration of dual identity and the tension between specialness and societal conformity. [Read](https://www.avclub.com/the-incredibles-1798200097)
- **The Guardian**, Peter Bradshaw (90/100, inferred): The critic calls it an all-conqueringly funny and blastingly energised family comedy with audacious things to say about meritocracy versus mediocrity. They single out the monologuing gag and the character of Edna Mode for particular praise. [Read](https://www.theguardian.com/film/2004/nov/19/the-incredibles-film-review)
- **Variety**, Todd McCarthy (90/100, inferred): The critic calls it Pixar's most ambitious and genre-expanding film yet, full of excitement, imagination, wit and panache for all ages. Single out its impassioned rejection of mediocrity and the genuine family solidarity in the climax. [Read](https://variety.com/2004/film/awards/the-incredibles-3-1200529884/)
- **The New Yorker**, Anthony Lane (85/100, inferred): The critic praises how the exaggerated but relatable characters and witty family story make the film work, rather than technical flash or plotting. Single out the Parrs' everyday frustrations and the film's retained innocence over cynicism. [Read](https://www.newyorker.com/magazine/2004/11/15/illustrated-life)
- **Slant Magazine**, Ed Gonzalez (80/100, inferred): The critic views the film positively as redefining family-friendly entertainment through a defense of family and self-knowledge. They single out the emotional family dynamics and soul-searching elements for praise. [Read](https://www.slantmagazine.com/film/the-incredibles/)
- **The New York Times**, A. O. Scott (80/100, inferred): The critic finds the film visually splendid and ethically serious, with an unusual intellectual edge for a family cartoon, but notes it raises hopes it cannot fully satisfy. Single out its central theme rejecting mediocrity in favor of excellence. [Read](https://www.nytimes.com/2004/11/05/movies/being-super-in-suburbia-is-no-picnic.html)
- **Empire**, Colin Kennedy: Bird delivers a hybrid of domestic sitcom and superhero caper that stands out from the Pixar formula with organic gags and strong character work. The film is praised as the most human Pixar movie since Toy Story, with highlights in family interplay and set pieces. [Read](https://www.empireonline.com/movies/reviews/incredibles-review/)
- **Evening Standard**: The Incredibles is a brilliant piece of Pixar animation that works perfectly for families, blending character-driven drama adults can appreciate with excitement for kids. It stands out as one of the year's more literate blockbusters thanks to its animators' flair and attention to expressive detail. [Read](https://www.standard.co.uk/showbiz/yes-its-incredible-7236884.html)
- **Screen Daily**: Hails a technically brilliant CG animation that introduces muscular action and real family drama to the genre. Finds it a beautifully rounded family movie experience that should appeal widely despite a slightly more adult slant. [Read](https://www.screendaily.com/the-incredibles/4020707.article)
- **The Hollywood Reporter**, Kirk Honeycutt: The critic praises the film as Pixar's best yet, an imaginative and funny superhero action adventure directed by Brad Bird that pushes animation boundaries. They single out the action sequences and witty domestic scenes for their suspense and intelligence. [Read](https://www.hollywoodreporter.com/news/general-news/incredibles-review-movie-2004-1245609/)
- **Time Out**, NB: Praises the film as a triumph of design, wit and zip that blends comic-book caper, domestic comedy and sci-fi spy fantasy. Notes some plot logic and ideological loose ends but finds the pastiche and playfulness highly engaging. [Read](https://www.timeout.com/london/film/the-incredibles)
- **Eye for Film**, Josh Morrall (5/5): The critic praises the originality of the story and risks taken in telling a simple family tale of superheroes living incognito, along with strong character development and faultless animation. It is described as an admirable and very loveable family treat that stands out despite its genre constraints. [Read](https://www.eyeforfilm.co.uk/review/the-incredibles-film-review-by-josh-morrall)
- **Den of Geek**, David Crow (85/100, inferred): The critic finds The Incredibles a witty and touching satire of suburban domesticity that remains one of Pixar’s most mature and stylish films. They single out its focus on family, love and relationships as the key to its lasting appeal despite a somewhat predictable storyline. [Read](https://www.denofgeek.com/movies/the-incredibles-lookback-review/)

## Details

- **Director:** Brad Bird
- **Director:** Brad Bird
- **Writer:** Brad Bird
- **Cinematography:** Andrew Jimenez, Patrick Lin, Janet Lucroy
- **Editor:** Stephen Schaffer
- **Music:** Michael Giacchino
- **Production design:** Lou Romano
- **Producer:** John Walker
- **Cast:** Craig T. Nelson as Bob Parr / Mr. Incredible (voice); Holly Hunter as Helen Parr / Elastigirl (voice); Sarah Vowell as Violet Parr (voice); Spencer Fox as Dashiell 'Dash' Parr (voice); Jason Lee as Buddy Pine / Syndrome (voice); Samuel L. Jackson as Lucius Best / Frozone (voice); Elizabeth Peña as Mirage (voice); Eli Fucile as Jack-Jack Parr (voice)
- **Runtime:** 1h 55m
- **Certificate (MPA):** PG
- **Release (the US):** 5 November 2004
- **Genres:** Action, Adventure, Animation, Family
- **Also in:** [Golden Globe Best Musical or Comedy winners](https://film.one/collections/golden-globe-comedy.md) (Nominee, 2004)
- **Budget:** $92 million
- **Box office:** $631 million

## Where to watch in the US

- Disney+: streaming, uhd
- Amazon Prime Video: rent $3.99, uhd
- Apple TV: rent $5.99, hd
- Amazon Prime Video: buy $9.99, uhd
- Apple TV: buy $19.99, hd

*Checked 2026-09-14.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IS, IT, JP, KR, LT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, RS, SE, SG, SI, TR, UA, US, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2005: Best Sound (nominated); Best Writing, Original Screenplay (nominated); Best Animated Feature (won); Best Sound Editing (won)
- Annie Award for Best Character Animation 2005: Annie Award for Best Character Animation (won)
- BAFTA Film Awards 2005: BAFTA's Children & Young People Award - Feature Film (won)
- Hugo Awards 2005: Best Dramatic Presentation, Long Form (won)
- Kids' Choice Award for Favorite Movie 2005: Kids' Choice Award for Favorite Movie (won)
- Annie Award for Best Animated Feature 2004: Annie Award for Best Animated Feature (won)
- Critics' Choice Awards 2004: Best Animated Feature (won)

## If you liked this

- *The Iron Giant* (1999), Fi1m 88: Brad Bird finds warmth in another story about extraordinary abilities and belonging. — [Fi1m page](https://film.one/film/the-iron-giant.md)
- *Spy Kids* (2001): Family grievances become practical problems in another cheerful adventure with secret identities.
- *Wolf Children* (2012), Fi1m 81: Another mother faces impossible childcare, with more patience and a different sort of transformation. — [Fi1m page](https://film.one/film/wolf-children.md)
- *The Wrong Trousers* (1993): Precise visual jokes and unusually clear chases, all organised around a troublesome household.
- *The Court Jester* (1955): For physical comedy that keeps its timing even when the adventure gets complicated.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/the-incredibles