Cinematography:
David TattersallComposer:
Michael GiacchinoCast:
Emile Hirsch, Christina Ricci, Hiroyuki Sanada, John Goodman, Susan Sarandon, Matthew Fox, Scott Porter, Benno Fürmann, Richard Roundtree, Christian Oliver (more)VOD (3)
Plots(1)
Start your engines and fasten your seatbelts for the high-octane adventure Speed Racer, combining heartfelt family humor and groundbreaking visual effects. Speed Racer (Emile Hirsch) is a natural behind the wheel of his thunderous Mach 5. With support from Pops and Mom Racer (John Goodman and Susan Sarandon), girlfriend Trixie (Christina Ricci), younger brother Spritle (Paulie Litt) and the mysterious Racer X (Matthew Fox), Speed takes on fierce competitors to save his family’s business and protect the sport he loves. When Speed steps onto the track, it’s not just a race. It’s an adrenaline-fueled, high-speed charge to the finish. Go, Speed Racer, go! (Warner Bros. US)
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Reviews (13)
I hereby accuse the Wachowskis of illicit visual exhibitionism and wasting their enormous storytelling talents on a subject so predictable and bound by the conventions of the cheapest family pathos. On the other hand, it is very rare (if not impossible) to see a film that captivates and engrosses the viewer with its original visuals and absolutely ingenious spatio-temporal construction, so much that you want to remain a part of the "cheap and stupid" and, above all, incredibly rich fictional world that is presented at a tremendous pace and on a voluminous plot. The first 15 minutes represent one of the most beautiful narrative stretches in the history of cinema, while the rest of the film never ceases to surprise with an avalanche of revolutionary filmmaking ideas and bold decisions that, as we can see, have no chance of bridging the model habits of a significant part of the viewing public. But that's okay, great films have always stirred controversy and greatness is relative, and Speed Racer – a bold experiment with its own stylistic elements, an infinitely energetic tide with fade in effects at the level of shots, genres, narrative approaches and the cinematic underworld of the Wachowskis as such – is undoubtedly a tremendous film, deserving of detailed analysis to defend its rejected systemic modes and rules. Maybe some day, further screenings are unavoidable.
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The Wachowskis show once again their technical skills and impress with an incredible range of perfectly tuned colors, visuals, a captivating concept of car races, and typical camera positions and shooting systems of some scenes. On the other hand, they have quite traditionally forgotten about the script, which oscillates between a “sketch” from a silly sitcom and entertainment for the whole family, especially for the younger ones. The plot is very dysfunctional, but technically breathtaking. The classic that we are used to, but this time we won't forgive it.
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Despite my aversion to Japanese animated series, despite the silly humor that abounds, despite the heaps of clichés and despite the silly characters of the little brother and his tame chimpanzee... I actually had fun with this. Not groundbreaking or memorable, but thanks to the stunning visuals, imaginative racing scenes and Giacchino's music, it's pretty much sound from start to finish. Three and a bit.
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The audiovisual side of the movie is simply unbelievable. Painstaking racing scenes interspersed with a conflict between a family firm and a megalomaniac corporation represented by the slippery Roger Allam. Emile Hirsch gave a great performance in the role of Speed and I was equally surprised by Matthew Fox as the mysterious Racer X. Playful, sweet and funny (unfortunately sometimes too much so). Great for kids, remarkably digestible for adults.
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The races: a perfect spectacle, your eyes are amazed, your adrenaline rises, and you're subconsciously gripping the steering wheel and stepping on the pedal. The dialogue, comic relief, and everything else: disappointment, and often unexpected suffering. The parents make an effort, the brother rolls his eyes, and Trixie, a lovely sexy figure, winks her eyes and helps the main hero. And meanwhile, I'm praying for someone to step on that pedal again. It is truly a very uneven mixture, you climb into Speed's cockpit and you still don't get under his skin for even a bit throughout the two hours. And at that moment, any possible enthusiasm for the film as a whole ends for me. A visual orgy on zero background. This is supposedly how films are supposed to look in the future. I think (and I strongly hope) not. P.S.: Big plus for the mysterious Matthew Fox, who can create a deep character out of anything.
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