Speed Racer

I saw this the same night as the latest film by my favorite filmmaker and I must admit that this held its own.

Sure, the story is silly and there are the requisite two lessons for children. All the shots with the parents could have been replaced with a dialog card so far as I care. But this is highly cinematic in a fine-grained sense.

Coursegrained long form would be the cinematic values of that Peter Greenaway film, where the narrative has substance and is cast cinematically. The contrast is shocking, with this Wachowski business seeming to be mere busy style.

But look again. There's real value in how the story is told even though the story is as close to vacuous white noise as possible. In fact, there's a statement there that matters. This movie is about movie-making. The watchers of the "race" are watchers of the movie. Its a simple fold.

I consider this the best of the brothers' films because their sometimes intriguing plots distract from their deeper intent. That intent is to visually explore what it means to watch. Sure, those plots are about watching as well. But people watch "The Matrix" and build religions around the story mechanics as if they matter. Previously, "Bound" was my favorite Wachowski film because it suppressed the noise of the story so as to equal the expression of that story in terms of the eye, the desire of eye.

These folks are to Welles as Coltrane is to Getz. They run riffs whose patterns are derived from the languid, meaningfilled studies of what went before, but which are presented so quickly you cannot possibly comprehend the fullness with which they were originally loaded.

That overloading of serious visual grammar has an immediate effect: that we are really there instead of digesting something filtered to be simple enough for us to understand. But there's a deeper effect: there is so much motion here, so many paths we can choose from to decide what we see, that there's a sort of tease between the film and our mind about what options they will present — and what tricks they will use to suggest paths to comprehension. And on our part to discard, to race ahead of the track suggested, to speed ahead and get to the end before even the movie.

I consider this serious work, and an advance in film grammar that possibly will be profound.

Ted's Evaluation -- 3 of 3: Worth watching.

I just loved Speed Racer. It did an amazing job at entertaining, and overall the movie blew me away altogether. The movie may have became a little idiotic and somewhat uninteresting at points, but they did a very good job on the script and I loved all the awesome kick-ass action. One of my favorite parts is when they are fighting in the hotel bedroom, that scene was awesome, and I laughed at a lot of the cute jokes too.

I understand it was mostly all for thrills in the vision department, but that is what you should have been expecting when you went in to Overall Speed Racer exceeded my expectations, and in the end I was very glad I had the chance to view it, for I loved it and think it rises above a lot of other movies out there recently. It did not deserves it's Razzie noms. Give it one more chance if you did not like it.

Personally I have never been a fan of the original animated series, and I wasn't sure what to expect of this movie. After seeing the trailers I thought it looked kind of cheesy and over-done. After watching this I realized that the cheesy graphics, work to it's own advantage. This movie really caught a good look at Live action Speed Racer without losing the characteristics of the Cartoon. I didn't think even the Wachowski brothers could pull this off, but as usual, they did.

As far as the actors performances, Emile Hirsch did exceptional, but my eye was mostly on the brilliant performances by John Goodman, and new comer Paul Litt who plays Spritle, Speed's mischievous little brother. I recommend this for the family, don't wait for the DVD get to the theaters while this stunning cinematography is on the big screen!

Above everything else, this movie is a visual feast that stays true to the cartoon. I think it is really unfortunate that so many critics are complaining about the visuals in this movie, because I think that they are truly fantastic. I can safely say that I have never seen another movie like this one, and I feel that so many movies are going to try to do what this movie did. A lot of the visuals really are beautiful bursts of color similar to what you find on the busy streets of Tokyo, and this movie is aware of that. It is like they took Shibuya and made it a hundred times as big and colorful. Only someone who has been to Tokyo will know exactly what the Wachowskis were going for in this film. After all, it is based on a Japanese TV show.

The acting is somewhat campy, but can also turn that gear into more serious acting. It can be funny, and then be heartwarming. Lots of the racing sequences are very over the top, but the movie knows it and does it well. The tracks are very creative, and I can only imagine how fun they were to design. If real racing was this exciting, I would watch it all the time. I can understand why this film made the race tracks so crazy, because who would really want to see two hours of regular race tracks with cars going around and around? The sound was also really impressive in this film. The sounds of the race cars were explosive and loud and if you see this movie in a good theater, it will make it that much better. The music is also very fitting and tasteful. Probably the only time I will hear "Freebird" without being annoyed.

Also the politics in this movie were excellent as well. I feel above all the message of this movie is that money corrupts art. This movie portrays Speed as more of an artist than a race car driver. A big corporation wants to sponsor Speed, but Speed knows that corporations are evil and are only looking to make more money. He is very dedicated to his craft, and does not want to sell out. Speed knows that corporations corrupt art, and so does this movie. You will not see one piece of product placement in this whole film.

So overall this movie is very self-aware. It wants to entertain, and it does exactly that. It wants to be different, and it does exactly that. Don't listen to those wimpy critics that didn't like this film because it gave them a headache. Many people said the same thing about Moulin Rogue, and that movie is fantastic too. Critics who complained about there being too much color should have brought a pacifier with them to the movies, because only babies would complain about how this film looks. Race to your theater to see it now.

As a child Speed Racer not only had his name as a developmental factor in his passion for motor racing, but also the influence of his older brother and famous driver Rex Racer. However when Rex is revealed as corrupt he is thrown from the sport and is eventually killed in a deadly cross-country race – devastating his family but yet purring Speed on to continue his brother's legacy, believing him to have been wrongly accused. As an adult he appears to have the racing world at his feet, with only the limited resources of his father's company as a constraint. An offer from one of the largest firms in the sport appears – but Speed soon learns that the sport he loves is not as pure or as clean as it is for him.

I remember seeing the trailer for this film and both me and my girlfriend turned to one another and simply said in unison that Speed Racer "looks awful". Presented as an adult action movie of sorts, it just looked terribly gaudy and nonsensical and I was not surprised when it got a critical mauling on its release in the UK. I watched it recently anyway though and quickly worked out that actually it was meant to be that way and that the marketing department did a terrible job of selling it by presenting it as something that it wasn't. Rather than an action film it is essentially a live action version of a cartoon series (which I have not seen) that is trying to be a cartoon in the same way as Tank Girl tried to be the comic strip even if it wasn't a great film. With Speed Racer it actually works better because it has the budget and the consistency across the film to just about carry the style. Substance-wise it must be said that there is not enough going on to really carry a film that is over two hours long and a lot of stuff could have been cut back some but this isn't really a film that is about substance. Some have said it is good for children and I do agree but again this makes me wonder why it ran as long as it did.

Anyway, the film it is all about the visual design and in this regard the film is quite impressive IF you keep in mind that it is deliberately the way that it is and that the gaudy colours and excessive special effects are all part of it and not just a sign of the Wachowski brothers going out of their minds. Style does not make a film brilliant though and indeed Speed Racer is still an acquired taste – if you can get into the comic book style then it just about works but personally I do not agree with those praising it to the high heavens. Technically yes, it is really good and I particularly like the visual awareness that built it, for example the editing and overlaying of images in the style of a comic book. The cast are not any good in a traditional sense but they do play up the hyper comic style performances required. Hirsch is a bit stiff but leads the film well, while Fox has already shown he likes style without a lot of substance and is equally sturdy. The supporting cast is deep in faces, all of whom pretty much fit with the weird comic book style even if I'm not sure what any single one of them personally gained by being in the film (apart from money of course). Ricci, Goodman, Sarandon, Roundtree and many others all show up and add to the novelty feel of the film.

Speed Racer is not a great film by any means but it certainly did not deserve the panning it generally got. It is important to watch it as a kid's animated cartoon, even if it cost millions and seems silly. In this mind, the visual style and everything else works because it makes sense – however two hours+ is still a tough ask for a film that is all style with very little of substance.