The problem with being the best in the business is that you are bound by your own high standards. The reason everyone was so shocked by footballer Ryan Giggs’ sordid off the field antics was that he had spent nearly 20 years cultivating the image of being the sport’s Last Good Man and had succeeded so well that the revelations had twice the impact. On a more relevant theme, Steven Spielberg’s 1991 family film Hook was met with almost universal derision from critics. Why? It wasn’t a terrible film by any means, but for those of you too young to remember, during the eighties, the idea that Spielberg could make anything other than a superb piece of cinema was unheard of.
And so we arrive, in a roundabout way, at the point. Pixar are the Spielberg/Kubrick/Scorsese of the current era (at least in terms of mainstream filmmaking). Finding Nemo, The Incredibles, Ratatouille, Monsters Inc, the studio has been turning out classic after classic for the best part of 20 years now. Sure there’s been the odd misstep along the way, but in recent years, with the astonishing 1, 2, 3 combo of Wall-E, Up and Toy Story 3, the Pixar juggernaut had picked up some frankly frightening momentum.
And then we get Cars 2, a sequel so ill-advised its astonishing it even made it through the planning period. Financially it makes perfect sense Lightning McQueen and co. made Disney a huge sum in merchandising after the release of Cars and you can almost hear Mickey Mouses accountants rubbing their hands together at the prospect of a second round. Money however, should not be the catalyst of creativity and the only way Cars 2 could be a more obvious cash-in would be if Lightning McQueen’s catchphrase had been changed from “Ka-chow!” to “Ka-ching!”.
The plot, in its basic state at least, is undemanding, formulaic stuff. In a world of anthropomorphic cars, racing champion Lightning McQueen (Owen Wilson) is invited to take part in a global invitational tournament, where the greatest racers from each country compete to promote a new type of environmentally friendly fuel. Along for the ride is McQueen’s well-meaning but dim-witted best friend Mater (Larry the Cable Guy) who, through a convoluted series of events, winds up trying to stop a shady conspiracy behind the tournament.
Visually, this is as good as anything Pixar have done thus far. From the huge rolling American plains to the dazzlingly brilliant lights of Tokyo, the level of detail has to be seen to be believed. If Pixar continue to outdo themselves in this way, then the difference between CG and live action is going to be moot by the end of this decade.
Unfortunately thats where the shine wears off. The first and most fundamental mistake lies in the shifting dynamic of the characters. The decision to move comedy side-kick Mater into the role of main character is nothing short of disastrous. The writers attempt to work a wise fool motif into his character but it fails to show through, and we are left with a central player who is woefully two-dimensional and highly irritating after the first hour. A valiant effort is made to back up this shortcoming with a varied supporting cast, including smooth secret agent cars Finn McMissile (Michael Caine) and Holly Shiftwell (Emily Mortimer), as well as old favourites such as McQueens pit crew, but the overall effect is that of flogging a horse that is, if not dead, then at least in critical condition.
In terms of pacing again an area in which Pixar have previously proved themselves to be masters of their craft rookie mistakes are made. First and foremost, just because you can do high octane actions sequences doesnt mean you should fill up the entire movie with them. Anyone who has seen Up!, one of Pixars finest, will attest that while the action scenes were entertaining, the most memorable parts of the film were the quieter, thought provoking scenes that shone the characters in a more philosophical light. In Cars 2, with its constant and I do mean constant flashing lights, revving of engines and bright colours, the audience has no opposite point of reference, meaning that the action, impressive as it is, loses its relevance.
There will doubtless be those who say that this is a move for children and should be judged as such. True enough, but the best examples of childrens entertainment are the ones that dont treat their audience like idiots. Cars 2 blindly assumes that all kids have ADD and so assaults them with a hyperactive story wrapped in meaningless action. The characters lack charm and the adventure loses momentum. Pixar are still the best when it comes to the CG revolution, but this represents a very bad day at the office.
Overall Verdict: A disappointingly lazy effort. Cars 2 is the kind of film that is usually served up by Pixars less illustrious competitors. A really mediocre piece from a company we all know can do much, much better.
Reviewer: Alex Hall