Haiku film review #52 – Cars 3

This film is surely,
Of all the Pixar Cars films,
One of the top three.

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Short film review – Lou (Dave Mullins, 2017)

A sweet short film about a bully’s relationship with a lost and found box in a playground might just make your ticket to Cars 3 worth the entry fee.

Dave Mullins is a first time director but has been working with Disney since 1995 and Pixar since 2000, working in the animation department for the likes of Up, Monsters Inc., Ratatouille and Inside Out. It is clear that his attention to detail and love of a great story is at the heart of this film, which is brought to life wonderfully in a story that lasts only a few minutes.

The film opens with the lost and found box attracting the attention of the children in the playground of a school boy, encouraging them to play with the contents. However, the school bully J.J. begins teasing his class mates by taking away their toys and teasing them in the process. However, when the contents of the lost and found box come to life and start to turn the tables on him, he quickly learns a fast lesson in being nice to his peers, awakening memories he’s hidden inside himself that may be the real problem behind his poor behaviour.

It’s incredibly difficult to create something with such a large story and get the whole point across in a strictly limited timeframe, but Mullins and his team completely manage it. The short is, essentially, a silent film, but it has no difficulty in delivering a succinct but strong message.

The audience, which were mainly children, were completely captivated and gave a spontaneous round of applause at the end of the screening.

You can watch the opening 40 seconds below.

 

 

Film review – Cars 3 (Brian Fee, 2017)

I always try to stay positive about a film I’ve seen. With that in mind, I can happily announce that Cars 3 is one of the top three films in the series.

The wayward plot that feels deeply familiar on many levels. It’s Rocky III on wheels, with the care and attention of The Karate Kid III. This does little to rescue a franchise that looked in danger of sinking since the poorly-regarded Cars 2.

Put simply, Cars 3 is defined by lacklustre character designs and a thinly veiled attempt to use a film as a means to sell merchandise and toys.

This time around, Lightning McQueen (the returning Owen Wilson) is struggling as an ageing racing car. An arrogant young car named Jackson Storm (Armie Hammer) has shown up and is utilising modern technology to achieve better performance from his specs, forcing cars based on the older technology into retirement. McQueen refuses to retire and pushes his car too much in the final race of the season, leading to a horrific crash that takes him months to recover from. Determined not to retire, McQueen takes on additional training at a new facility sponsored by Sterling (Nathan Fillion), though he seems to want McQueen to retire and turn him into a brand rather than let him keep racing. Regardless of this, he’s given a personal trainer called Cruz Ramirez (Cristela Alonzo) who he quickly strikes up a love-hate relationship with.

One of the tough sells for the film outside of North America is that McQueen is essentially a stock car racer. NASCAR is the second most popular sport on American televisions, but is largely unpopular in Europe and the UK. Indeed, the sport is ridiculed by many who see it as vastly inferior and less exciting than the likes of Formula One and MotoGP. Perhaps as a British film fan I am spoiled when I see stock car racing – maybe the subtleties of the skill involved are lost on me. But converting that into an exhilarating plot point in a film is an unenviable task and something I don’t think is achieved in Cars 3.

cars3screen.jpg

For all the disappointment associated with the story, the visuals are nothing short of stunning. There have been huge advancements in animation in the eleven years since the original’s release. The benefits are felt with the backdrops, which feel somehow much more life-like than it’s predecessors. Even the character design, which is hampered by the restrictive nature of bringing cars to life, feels more advanced; a clear sign they’ve learned from two predecessors.

At its heart, this film eventually ends up being a buddy movie. Whilst it takes a while to get there, it’s an important move to bring the film closer to the original movie. I didn’t like either of the first two instalments, but Cars 3 stands alongside the original as being more in line with the Pixar ethos. It is, as the investors would say, “on brand”. So, whilst the first-time director Brian Fee has taken no risks here and the outcome is something that probably won’t overly please anyone, but nor will it offend anyone.

A safe bet that will maintain the franchise and opens the door for further sequels. Bland, forgettable, but pleasant enough to keep its target audience happy.

Though I do think Cars 2 is a better film.

Glastonbury 2017 Day Five: Ed Sheeran, Goldfrapp, Barry Gibb, Chic

The fifth and final day at the festival had been and gone. I am a beaten man, but it was worth it.

My first port of call for music for the day was to catch Jamie Cullum on the Pyramid Stage as he did the lunchtime slot. Nobody can deny he gives all his energy into his performances, and he has plenty of it. He’s an extremely talented man, and performed a mixture of covers and originals with his tightly-rehearsed group. Amongst the covers was a jazzed-up Ed Sheeran number.

I moved in close to the front the see Laura Marling, who captivated the audience with her unique country-folk hybrid styles. It’s hard to deny being reminded of Joni Mitchell as she pairs a voice that borders on yodelling with the most intricate of guitar work. Her final song ‘Rambling Man’ was simply beautiful.

Barry Gibb was next on the main stage, with the traditional Sunday afternoon legends slot. I definitely “got into” the set, and there is plenty of evidence of me singing along on the live broadcast. Fair play to him for donning the golf jacket for the end of the set.

The disco bar was raised another level when Chic took to the stage. From a hit-packed set my absolute highlight was ‘Let’s Dance’, which blew my mind. Singing that at full volume with 100,000 other fans is a truly special moment.

I had to swim against the tide to get to Goldfrapp at the John Peel Stage. Clearly some bad planning going on as the Chic-then-Goldfrapp option was appealing to many and at the same time Killers-then-Biffy was equally appealing. Cue pandemonium on the walkway between the two. Goldfrapp’ set was slightly delayed but once they kicked off they were as glorious as I expected them to be. Singer Alison Goldfrapp commands the stage like no other and there wasn’t a still waist in the tent. Their new album ‘Silver Eye’ had a good run out, with ‘Systematic’ being my particular favourite.

I caught the end of the Biffy Clyro set, with Matt Carole cover ‘When We Collide’ going down a treat [1].

The main headliner, Ed Sheeran, was an act I wasn’t particularly fussed about seeing when the day started. In lieu of there being no other appealing headliners we stuck with him and I can heartily say it was the biggest positive surprise of the weekend. This is a 26-year-old man and he has gone out on the main stage and powered through a set full of hits to an eager crowd. ‘Castle on the Hill’, ‘A Team’, ‘Shape of You’ and ‘Thinking Out Loud’ are undoubtedly songs of the highest quality and nobody can deny he has an extremely powerful voice. A talented man, full of confidence and charisma. Absolute quality.

A quick look around Cineramageddon as the 1970 Mick Jagger film Performance began to play and we saw a close to our festival. I can safely say that nobody had the exact experience I had – everyone’s pathway through the biggest party in the world is completely unique and wonderful. It’s exhausting, it’s exhilarating and it’s something I never want to end.

Thank you Michael and Emily. Until next time.

[1] I’M TROLLING YOU DON’T WORRY!