Cars 2 review!!!

If Pixar could ever be said to have a red-headed stepchild, it would be 2006’s Cars. Other studios would be doing backflips and buying self-congratulatory Variety ads if their tentpoles earned Cars’ 74% Rotten Tomatoes rating, but for Pixar it represents an all-time low. Scan the positive reviews and you’ll notice they’re mostly filled with praise of the qualified kind, as in, “It’s no Toy Storyor Incredibles, but…”

So why bother with a sequel? Because even a studio of such vaunted artistic integrity as Pixar must occasionally bow to the dictates of the market: Cars may be among Pixar’s lesser-regarded and lesser-performing films (though a $461 million worldwide gross hardly constitutes failure), but it is astonishingly successful as a brand, second only to the Toy Story franchise in its worldwide merchandising haul. The prospective numbers alone – Cars 2 is expected to outstrip Toy Story 3’s multi-billion-dollar retail sales tally – made another Cars installment all but inevitable.

That’s not to say Cars 2 is just some naked cash-grab. As the Toy Story follow-ups demonstrated, Pixar and producer-directorJohn Lasseter take their sequels seriously, and never embark upon them without a plan that allows a reasonable chance at surpassing the original. And their plan, in the case of Cars 2, calls for a wholesale overhaul.

The story begins with racecar Lightning McQueen (Owen Wilson), now a four-time Piston Cup champion, accepting a challenge by arrogant Italian Formula One racer Francesco Bernoulli (John Turturro) to compete against him in the World Grand Prix, a series of races in Japan, Italy, France, and England. But once Cars 2 arrives in Tokyo, the setting of its first race, the plot pulls an audacious switcheroo, morphing into a rollicking spy thriller. (This is presaged by its opening sequence, an elaborate take-off of classic Bond-movie prologues.) Lightning, the hero of the first film, retreats to the sidelines as the story shifts its focus to his dim-witted tow-truck sidekick, Mater (Larry the Cable Guy), who, through a case of mistaken identity, is thrust into the center of a conspiracy involving efforts to thwart a revolutionary alternative fuel called Allinol.

On the trail of the mysterious green-energy haters are British secret agents Finn McMissile (Michael Caine), the spitting image of 007’s iconic silver Aston Martin DB5 (actual brand names are for the most part avoided), and Holley Shiftwell (Emily Mortimer), a plucky purple roadster, who believe Mater to be an American agent under deep cover. Fumbling toward gallantry, his ignorance and clumsiness attributed to his elaborate disguise, Mater’s arc echoes those of the protagonists in Being There and other works in which simpletons inadvertently elevated to positions of significance. Heroism, it seems, knows no IQ.

All told, Cars 2 represents a solid upgrade – lighter, quicker, sleeker, and brighter than the original model. Leaving the provincial confines of Radiator Springs, the setting of the first film, is a boon to the animators, allowing them to showcase breathtaking 3D renderings of exotic skylines and cityscapes. The film boasts an earnest if artlessly conveyed pro-environmentalist message, but I would hesitate to call it a message film. In fact, it may be Pixar’s least-serious film to date: silly, whimsical, and crammed with one-liners and throwaway sight gags. It lacks the immense depth of feeling that characterizes more esteemed Pixar releases like Toy Story 3 or Up!, but it's by no means hollow, either. Those wishing for that old familiar Pixar profundity may simply have to accept that a world made up exclusively of anthropomorphized cars just isn’t conducive to it.

All of which suggests that Cars 2 is principally geared toward the audience’s younger and more distractible members, who may lose track of the conspiracy plotline or fail to grasp its energy politics, but will devour the rest of the film like a supercharged pixie stick. A handful of vehicles actually die in the film, though never on-screen. The implied vehicular carnage probably won’t traumatize the little ones, but it could prompt a few uncomfortable “Do cars go to heaven?” conversations.

Adults’ appreciation for Cars 2 may ultimately hinge on their respective tolerance for Mater’s bumbling redneck shtick and the film’s reliance (some might say overreliance) on fish-out-of-water/culture-clash humor. The comic tone of Cars 2 is about what you’d expect from a film in which Larry the Cable guy gets the lion’s share of the dialogue, which is to say: exceedingly lowbrow. I tired of it shortly after the first act; your mileage may vary.




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