Speed Racer

Speed Racer movie poster


The good news is that Andy & Larry Wachowski’s Speed Racer is fun and eye-poppingly extra­or­di­nary to watch. As with their break­through The Matrix (1999), there’s the strong feel­ing that you’re see­ing some­thing new; not just emer­gent tech­nolo­gies but a whole new style of moviemak­ing. But the bad news is that it’s all… too much. Why under­take such huge effort and expense just to repli­cate the essence of a poorly writ­ten and cheaply ani­mated TV series that no one, not even the geeki­est Japan­ese animé otaku (fan­boy), really misses? This film might have been so much bet­ter if they had jet­ti­soned the bag­gage of the intel­lec­tual prop­erty (a mis­nomer in this case) and told an orig­i­nal story in this rad­i­cal new style.

The movie incar­na­tion of Speed Racer has inher­ited the visual quirks of the orig­i­nal 1960s car­toon, cross-bred with the information-rich com­put­er­ized motion graph­ics of mod­ern tele­vised sports. The color scheme is dom­i­nated by bright, pri­mary col­ors like War­ren Beatty’s Dick Tracy (made in a era before com­puter graph­ics and dig­i­tal color grad­ing). Talk­ing heads lat­er­ally pan across the screen, usu­ally redun­dantly nar­rat­ing the onscreen events for us. The effect is like watch­ing ESPN; when two cars crash, an announcer promptly tells us that two cars have crashed.

Christina Ricci in Speed RacerChristina Ricci can see for miles and miles

The film is also mod­eled after video games and Japan­ese animé in gen­eral. Huge sequences are entirely com­puter gen­er­ated, with what lit­tle live action pho­tog­ra­phy there is most likely shot against green­screen sound­stages. The Wachowskis’ res­i­dent spe­cial effects mad sci­en­tist John Gaeta metic­u­lously stages the many incred­i­ble car chases like bat­tles in a war movie from an alter­nate uni­verse. Like Peter Jackson’s The Lord of the Rings and George Lucas’ Star Wars pre­quel trilo­gies, the movie prac­ti­cally is ani­mated. Just watch­ing it, it’s pos­si­ble to imag­ine what the tie-in video game must be like.

Every sin­gle line of dia­log is a cliché, and so too is the plot. Speed (Emile Hirsch) is a young race car dri­ver, a lone hon­est man in a cor­rupt indus­try. Yes, his name is actu­ally Mr… Speed… Racer. His dis­graced older brother Rex died a mys­ti­fy­ing death years before, pro­vid­ing Speed with the moti­va­tion to prove him­self both as a dri­ver and as an hon­est man. Pops and Mom Racer (Susan Saran­don and John Good­man) some­times appear in the same shot but hardly ever exchange words. Speed also has an insanely annoy­ing lit­tle brother with a Brook­lyn accent and, god help us all, a mon­key. The odd­ball extended Racer fam­ily also includes the Aus­tralian mechanic Sparky and Speed’s heli­copter pilot-slash-girlfriend Trixie (Christina Ricci, whom at some point has lost her endear­ing baby fat and now seems star­tlingly skinny). The whole gang appar­ently lives together in the same house, with Speed’s car parked in the liv­ing room like an extra sibling.

Lest all the action be of the vehic­u­lar vari­ety, the Wachowskis wisely scat­ter about a few awe­some wire-fu fight sequences designed (appar­ently not designed by The Matrix’s genius chore­o­g­ra­pher Woo-ping Yuen). The most excit­ing and visu­ally impres­sive fight takes place on a snowy plain, with the falling snow pro­vid­ing manga–like motion lines (a char­ac­ter­is­tic of Japan­ese comic books). The fights are even more fun when John Good­man gets in on the act, and one under­stands why he might have signed on to such a project (if for rea­sons other than a big stu­dio paycheck).

Emile Hirsch in Speed RacerLike audi­ences world­wide, Emile Hirsch is a lit­tle over­whelmed by the visuals

If I were to sin­gle out one tragic flaw, I would say that Speed Racer suf­fers, like Richard Kelly’s South­land Tales (read The Dork Report review), with too much back­story. Over­long for a kids movie, it’s almost one full hour before we get to the main plot: Speed Racer must join forces with adver­saries Racer X (Matthew Fox) and Taejo Togokhan (Korean pop­star Rain) to accom­plish something-or-other and defeat some kind of injus­tice that I can’t quite recall, all of which has some­thing to do with vet­eran racer Ben Burns (Richard “Shaft” Roundtree). Who can remem­ber details after two-plus hours of sheer sen­sory over­load? Speed Racer feels like a sequel to a movie we haven’t seen, with enough threads left dan­gling (mostly involv­ing the true story of Speed’s brother) to set up a hypo­thet­i­cal third episode.

For any num­ber of pos­si­ble rea­sons, this very expen­sive folly bombed and we almost cer­tainly won’t see that tril­ogy. The Wachowski broth­ers were per­ceived to have fum­bled the wildly pop­u­lar Matrix fran­chise with two obtuse sequels (although this Dork Reporter would argue in favor of the minor­ity opin­ion that the sec­ond, The Matrix Reloaded, is actu­ally their mas­ter­piece), they pro­duced the thick­headed V for Vendetta (mud­dy­ing up and widely miss­ing the point of the pow­er­ful anar­chist graphic novel by Alan Moore and David Lloyd), and one is rumored to have had a sex change. With such a track record it’s not sur­pris­ing that the moviego­ing pub­lic, even the genre-loving fan­boys that make up Chud.com and Ain’t It Cool News might have soured on them. Plus, the orig­i­nal Speed Racer car­toon is excep­tion­ally cheap and lame, so much so that even myself as a child could tell it was crap.

Warner Bros. revealed their embar­rass­ment by issu­ing the DVD as a bare-bones single-disc release, at time when even the crap­pi­est movie seems to merit a deluxe multi-disc pack­age padded out with hours of self-congratulatory value-added mate­r­ial. There’s noth­ing at all on the DVD about the obvi­ously ground­break­ing spe­cial effects. Instead, the film­mak­ers decided that what audi­ences wanted was more mon­key (the vile beastie stars in the clos­ing cred­its sequence) and more annoy­ing kid brother (who costars in a mock­men­tary fea­ture with an embar­rass­ingly poorly acted appear­ance by pro­ducer Joel Silver).

Offi­cial movie site: speedracerthemovie.warnerbros.com

Buy the DVD from Ama­zon and kick back a few pen­nies to The Dork Report.

Vantage Point

Vantage Point


Van­tage Point is an awe­some tech­ni­cal achieve­ment, and I don’t mean to damn it with faint praise. Direc­tor Pete Travis and writer Barry Levy demon­strate excel­lent plot­ting, spa­tial sense, edit­ing, logis­tics, and con­ti­nu­ity. As a thriller it moves for­ward relent­lessly, and feels com­pre­hen­si­ble, self-contained, and very satisfying.

Van­tage Point is struc­tured around a sin­gle gim­mick, but it’s a good one. As one of the cin­e­matic chil­dren of Rashomon (includ­ing The Usual Sus­pects and Courage Under Fire), it retells the same event from mul­ti­ple points of view. An assas­si­na­tion attempt on the US pres­i­dent in Spain is foiled by vet­eran Secret Ser­vice agent Thomas Barnes (Den­nis Quaid) and civil­ian Howard Lewis (For­est Whitaker). The advan­tage of the struc­ture is to with­hold infor­ma­tion and cre­ate sus­pense. The first time we spot Lewis, from the hyper-cautious Barnes’ per­spec­tive, he seems to be act­ing fishily. But when we soon see the events from his point of view, we learn he’s an inno­cent. But the struc­ture works the other way; almost a full hour passes until we see fel­low Secret Ser­vice agent Taylor’s (Matthew Fox) side of the story, and the sim­ple fact of his pro­longed absence causes the audi­ence to sus­pect him. At about the one-hour mark, the rigid, neat struc­ture breaks down and we begin to see sliv­ers of each character’s expe­ri­ences mixed together, as they all draw to a sin­gle time and place for the climax.

Vantage PointA turkey in every pot and a thriller in every multiplex

But the cru­cial falling-down point of the movie is the trumped-up assas­si­na­tion plot itself, which is seem­ingly crafted for max­i­mum sto­ry­telling drama and not real-world ter­ror­ist effi­cacy. Would an actual suc­cess­ful assas­si­na­tion be so hi-tech and com­plex? This plot relies on lots of wire­less tech­nol­ogy, split-second tim­ing, black­mail (coerc­ing some­one to per­form key tasks bet­ter off done by some­one the plot­ters could count on) and at least two inside men (one of whom must have spent almost a life­time prepar­ing). This is how ter­ror­ism works in the movies. Real-life assas­sins tend to be lone gun­men who man­age to slip through secu­rity with their sheer unpre­dictabil­ity, and ter­ror­ist attacks like Okla­homa City and 9/11 didn’t depend on tech­nol­ogy more com­plex than fer­til­izer and box cut­ters. While we’re on the sub­ject, what are these par­tic­u­lar assas­sins’ moti­va­tions, exactly? It becomes clear they don’t wish to kill the pres­i­dent but to cap­ture him. What­ever they hope to accom­plish, they seem quite pleased with themselves.

Vantage PointOK, every­body skootch in a lit­tle… say cheese!

All of these ques­tions are negated in the end by a news broad­cast that claims that a lone assas­sin has been shot and killed. This con­clu­sion plays to the public’s lust for con­spir­acy the­o­ries than con­tin­ues to plague 9/11 (an inside job? please, spare me) and the JFK assassination.

Extra obser­va­tions:

• One of the biggest plot twists is spoiled in the trailer.

• Barnes is a cliché we’ve seen before, played by Clint East­wood in In the Line of Fire.

• There’s an oddly tiny role for Sigour­ney Weaver as tele­vi­sion news direc­tor Rex Brooks. Was there more intended for her char­ac­ter? Per­haps she took the role for an oppor­tu­nity to spend a few days in Spain.

• Hey, it’s Hollywood’s go-to mid­dle east­ern guy, Saïd Tagh­maoui (from The Kite Run­ner and the Iraqi tor­turer in Three Kings). He does turn out to be a vil­lain, but so do two white dudes, so the movie totally isn’t racist.

Offi­cial movie site: www.vantagepoint-movie.com

Buy the DVD from Ama­zon and kick back a few pen­nies to The Dork Report.