Review #1,276: 'Cars 3' (2017)

From a purely merchandising point of view, Pixar's Cars franchise is nothing short of a masterstroke. Even if the films, spin-offs, and straight-to-DVD shorts aren't up to scratch - and they aren't - children will be sure to ask mummy and daddy for the latest sleek toy, no matter how obscure the character. In response, the Cars movies have added numerous forgettable new characters with each film, adding to their extensive range of collectables in the process. It's a cynical approach, but merchandise has always been Disney's bread-and-butter in their quest to seemingly own everything. As a result, Cars 2 was a huge disappointment; a half-arsed sequel to a movie that had already left many underwhelmed, which took the central story off on a random tangent and promoted the annoying sidekick to the central hero. Still, it made lots of money, so a trilogy-closer was inevitable.

Thankfully, Pixar and director Brian Fee have scrapped the spy thriller angle altogether, and relegated buck-toothed tow truck Mater (Larry the Cable Guy) back to the role of comic relief dished out in small doses. The focus is back on Lightning McQueen (Owen Wilson) and his antics on the race track, so Cars 3 is, if anything, a massive improvement on its predecessor. McQueen is now in the twilight of his career; a seven-time Piston Cup champion and bona fide racing legend, enjoying the on-track banter with his closest rivals. However, he is given a wake-up call when newcomer Jackson Storm (Armie Hammer), employing a fancy chassis, the latest in car technology, and an extensive knowledge of statistics, beats McQueen easily. Soon enough, his fellow veterans start retiring in droves, and those who don't are quickly laid off by their sponsors to make way for the new guys hot off the assembly line (or are they born?).

It's a bland and uninspiring story of the new out-muscling the old, but there are still things to enjoy in Cars 3. They've finally enlisted a female racer in the form of energetic personal trainer Cruz Ramirez (Cristela Alonzo), who treats McQueen like a car ready to fall apart at any second, and it also offers a fitting resolution to Doc's story, who was splendidly voiced by Paul Newman before he sadly passed, as McQueen seeks out a new mentor. Yet, the beautiful and detailed animation, combined with the welcome return to the grit of the race track, cannot save Cars 3 from mediocrity. It's essentially an existential exploration of midlife crisis, chocked full of childish humour and wrapped up in a sports movie formula, so it's difficult to work out just who the target audience is. It wisely makes a point of dodging genre cliches with an interesting climax, but the lack of character investment (McQueen has always been the blandest of Pixar's heroes) means that this doesn't pay off as well as it should. Like its racers, the Cars franchise seems to be stuck in an eternal loop without anywhere to go.


Directed by: Brian Fee
Voices: Owen Wilson, Cristela Alonzo, Chris Cooper, Nathan Fillion, Larry the Cable Guy, Armie Hammer, Tony Shalhoub, Bonnie Hunt
Country: USA

Rating: ***

Tom Gillespie

Review #394: 'Super' (2010)

"Don't molest little boys!" shouts Super's mentally unstable protagonist Frank (Rainn Wilson) after splitting a paedophile's head open with a wrench. After recent 'superhero' films Watchmen (2009) and Kick-Ass (2010) explored the mentality behind the superhero/vigilante idea to various degress of seriousness, Super arrived in 2010 with yet another take on it, again with a different tone. While Watchmen held a mirror to the audience and created a vast and complex alternative world that portrayed its 'superheros' as as pornographic as they are borderline psychopathic, and Kick-Ass revelled in it's bloodshed and questioned audiences' enjoyement of the slaughter, Super does both but is more interested in its emotionally damaged and extremely lonely main character who thoroughly believes that his actions are justified.

Frank is a short-order cook whose recovering drug-addict wife Sarah (Liv Tyler) disappears from their apartment taking all her belongings with her. She seems to have disappeared with her sleazy club owner boss Jacques (Kevin Bacon), who is on the verge of a large heroin deal. After seeing a crappy low-budget Christian message television programme where superhero the Holy Avenger (Nathan Fillion) teaches Christian values to tempted high-school kids, Frank makes himself a costume and dubs himself the Crimson Bolt, taking out bad guys with a pipe wrench. He becomes a cult vigilante, and the object of comic book store owner's Libby's (Ellen Page) curiosity. The two form a partnership, but Libby's hyperactivie personality and eagnerness for bloodshed becomes a problem.

The film's main problem is the uneveness of its tone, which switches from dark indie drama to cartoonish comedy violence to disturbing character study. Like Kick-Ass, the film is extemely violent, yet Super is set in a murky, grainy reality as opposed to Kick-Ass's very colourful, comic-book world. This, for me, made the film more of an entertaining curiosity rather than the film it perhaps could have been. I cannot deny that the film is entertaining though. Opening with a nicely animated credit sequence, the film moves quickly and is anchored by an impressive performance by Wilson, who juggles comedy with a dark intensity. Page almost steals the show as his sidekick who is as sexy as she is bat-shit crazy. After all the carnage, the film is wrapped up nicely with a sweet and really quite moving ending. Whatever you think of the film, it will no doubt make you want to shout "shut up, crime!" whenever someone next pisses you off.


Directed by: James Gunn
Starring: Rainn Wilson, Ellen Page, Liv Tyler, Kevin Bacon, Gregg Henry, Michael Rooker, Nathan Fillion
Country: USA

Rating: ***

Tom Gillespie