Amid the push by filmmakers to deny photo reality in favour of animated impressionism comes the Wachowski brothers’ Speed Racer, a movie that gives the sensation of being trapped inside a 3-D video game.
In this aggressively rudimentary emotional drama designed—literally—around impossible racing car action, actors are painted into a cartoon world through computer-generated imagery and vividly coloured backgrounds as images move across the screen like shifting panels in a comic strip. The basic laws of gravity and aerodynamics aren’t simply denied; they are totally repealed.
While multitudes of young people the world over undoubtedly will make a dash for this new movie experience from the siblings who created the Matrix series, the film plays very young. Unlike a Pixar cartoon that embraces as wide an audience as possible, Speed Racer proudly denies entry into its ultra-bright world to all but gamers, fanboys and anime enthusiasts. Story and character are tossed aside to focus obsessively on PG-rated action and milk-guzzling heroes.
The Warner Bros. release, derived from a ’60s Japanese cartoon television series that is itself inspired by a Japanese manga, opens on 9 May.
The film, which the Wachowskis also wrote, pits the Racer family of car nuts — Rex, long dead thanks to race track malevolence; young brother Speed (Emile Hirsch); Pops (John Goodman); Mom (Susan Sarandon); kid brother Spritle (Paulie Litt); and a chimp named Chim Chim—against an evil automotive magnate (Roger Allam). He fixes races, probably killed Rex and when Speed turns down a lucrative driving contract, he means to destroy the Racers.
Speed and his family-designed car, the Mach 5—which looks like a souped-up Corvette by ways of Q’s gadget factory in the James Bond series—take on this Evil Empire in race after race, with help from the mysterious Racer X (Matthew Fox), Speed’s multitalented girlfriend Trixie (Christina Ricci in her least interesting role ever) and a ambiguous Japanese racer (Korean pop singer Rain).
Like any good video game, each race happens in a completely different environment from tropical island loop-the-loops to a race that starts in a North African desert, takes off into a Mediterranean Grand Corniche and winds up at the Brandenberg Gate. The possible miscalculation here are the wearying number of races that all look alike no matter what the backgrounds. Two climatic races might be one more than any film can successfully sustain.
There is a certain desperation at work here where the filmmakers seek to offset story lags —i.e., everything between the races—with chimpanzee tricks, kid-brother hijinks, Ninja martial arts by the whole family and a raft of vicious yet harmless villains.
The whole thing, curiously enough, reminds you of Disney’s 1982 Tron, the very first attempt to make a live-action movie look like something spit out by a computer.