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 Story or 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-director John 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.
What no "giant sea pods" this time? Instead The Invasion skews the Body Snatchers scenario by making the alien invasion a virus rather than plant life. Said virus which comes to Earth via a mysterious crash of a space shuttle is transmitted by some form of bodily fluid-to-bodily fluid connection. For example throwing up into people's faces or coffee cups is a fun way to spread the disease. The end result however is the same: Once the infected person falls asleep they undergo a transformation and wake up looking the same but are unfeeling and inhuman—and ready to organize. As the infection spreads and more and more people are altered there are a few humans left fighting for their lives including psychiatrist Carol Bennell (Nicole Kidman) and her doctor friend Ben Driscoll (Daniel Craig). Carol’s only hope is to stay awake long enough to find her young son who may hold the key to stopping the devastating invasion. But we won’t tell you how. OK it has something to do with an immunity but that’s all we are going to say. Nicole Kidman has had a string of bad luck since winning that damn Oscar for The Hours. One wonders if maybe the golden statuette might actually be a curse (Cuba Gooding Jr. anyone?). Still regardless of the movie--be it Bewitched The Stepford Wives or Fur: An Imaginary Portrait of Diane Arbus--Kidman manages to turn in a decent performance. The same goes for The Invasion. Her mother bear act is quite believable as she races to find her son (played with spunk by Jackson Bond) while trying to stay awake and pretending to be cold and unemotional among the pod people--oh excuse me the virally infected people. You root for her all the way. Craig doesn’t have as much to do but still delivers when it counts. In a supporting role Jeremy Northam does a nice job as Carol’s ex-husband a CDC doctor who is one of the first to get infected. As does the always good Jeffrey Wright as a very clever genetic scientist. Even Veronica Cartwright one of the survivors in the 1978 Invasion of the Body Snatchers makes a cameo as one of Carol’s patients who tells her “My husband isn’t my husband!” Famous last words. Body snatching must be a popular water-cooler topic at the movie studios. Starting with the 1956 sci-fi classic Invasion of the Body Snatchers in which Kevin McCarthy barely escapes his small town with his life running into highway traffic screaming “They're here already! You're next! You're next You're next...” there have been at least two other versions including the above-mentioned 1978 film and the 1993 film Body Snatchers. To its credit The Invasion switches things up a bit nixing the pods and making it more relevant to our current socio-political climate. It even begs the question: Could we be better off if we didn’t have emotions? But the movie is still mired by its derivativeness and too-pat ending—and it also apparently had problems getting off the shelf. Originally wrapped in early 2006 rumor has it the studio didn’t like German director Oliver Hirschbiegel’s original cut and brought in Matrix’s Andy Wachowski and Larry Wachowski for rewrites and James McTeigue (V for Vendetta) to direct the new scenes. Again to its credit The Invasion surprisingly feels cohesive despite all the different influences. Let’s just say whoever came up with the tense car chase in which Carol tries to throw off the pod people (it's just more effective calling them that) draped all over the car kudos to them.