It’s been 14 years since the first “Incredibles” movie. Was the sequel worth the wait?

Definitely. It’s not quite as fresh or inventive as the first film, but it’s close enough.

What’s so good about it?

Like the original, “Incredibles 2” features a dazzling mix of spectacular action sequences, richly colored visuals and warm, character-based humor that will appeal to adults and children alike. Writer/director Brad Bird, returning to Pixar for his first animated movie since “Ratatouille,” more than sticks the landing.

But is it just more of the same?

In a way, yes. But the movie is also a lot weirder than the first one, entertaining some unexpected, maybe even lightly subversive politics. At its core, “The Incredibles 2” is about the continual creep of free enterprise into the role of public institutions. Really.

As if to hammer (or drill) this point home, the movie’s opening scene features a gigantic drill barely stopped from destroying city hall.

“Incredibles 2” also references body-cams, feminism, the Israel-Palestine conflict, the pacifying pleasures of consumerism and the white man’s fear of marginalization in an increasingly diverse society. The movie doesn’t seem to be taking a particularly pointed stance on any one thing, but the fact that it’s even addressing this stuff — especially within the confines of a Disney-financed, family-friendly film — is fascinating. And very strange.

Alright, so that’s the subtext. What’s the text-text? What’s the story?

The film picks up immediately where the first one left off, with the Incredibles (aka, the Parr family) about to do battle with a villain called the Underminer. In a lightning-fast, gravity-defying sequence that possesses more action-movie showmanship than most non-animated summer blockbusters, the Parrs save the day. But not without nearly destroying the city in the process.

They get into hot water with the government. (Superheroes are illegal, you might recall.) Their super-secret (and publicly funded) program is shut down. And Bob/Mr. Incredible (Craig T. Nelson), Helen/Elastigirl (Holly Hunter), Violet (Sarah Vowell), Dash and baby Jack-Jack are cast back into the society of normals.

But before they even have a chance to update their LinkedIn pages, Bob and Helen get an offer from libertarian billionaire Winston Deavor (Bob Odenkirk) and his brilliant sister, Evelyn (Catherine Keener).

The Deavors love superheroes. Love them so much they want to privatize them. They offer to be the Parrs’ secret benefactors. In particular, they want to finance and market the derring-do of Elastigirl.

And so Helen goes back to work, taking part in a series of highly public rescues, while Bob stays home to take care of the kids.

Helen immediately feels heroic, empowered. Bob immediately feels jealous, emasculated.

The kids are each going through a tough time themselves. Dash is struggling with his math homework. Violet is having problems with her love life (after the government erased the memory of her would-be boyfriend). And baby Jack-Jack? He’s starting to show signs of 17 superpowers he doesn’t know how to control — including spontaneous combustion, levitation, shooting laser beams out of his eyes, multiplying into many versions of himself and teleporting into another dimension.

It’s a lot for Bob to handle, but he gets a little child care help from his superhero buddy Frozone (Samuel L. Jackson) and master gadget-maker Edna Mode (Bird, the director).

Meanwhile, Helen is trying to stop a cyberterrorist called the Screenslaver. But nothing is what it seems.

What’s the best part about “The Incredibles 2”?

The action. It can’t be stressed how good Bird is at constructing a brilliant action sequence. The three centerpieces of the film each involve the heroes trying to stop a large, speeding object before it reaches its endpoint and kills innocent bystanders. And each chase is more ingeniously staged than the last.

What’s the second-best part about it?

Jack-Jack. The superpowered baby is a comedic gold mine. By the third act, he’s become the superhero family’s Hulk: a short-tempered, uncontrollable and unfathomably powerful monster.

In the film’s funniest scene, Jack-Jack’s powers come to light as he partakes in a backyard brawl with a raccoon. The fight is long and involved to the point of absurdity. It’s Pixar’s answer to the Roddy Piper/Keith David fight in “They Live.” But between a baby and a raccoon.

Should I see it?

Yes. Obviously.

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