'Cars': Entertainment in high gear
Having already set the standard for computer-animated entertainment with movies such as "Toy Story," "Monsters, Inc." and "Finding Nemo," Pixar continues to raise the bar with "Cars" (Disney), a delightful, family-friendly film with a full tank of humor and emotion that is likely to leave its summer competition in the dust.
Directed by John Lasseter and Joe Ranft, the tale takes place in a world of anthropomorphic autos, centering on cocky racecar Lightning McQueen (voiced by Owen Wilson), a rookie hot rod with his headlights set on the prestigious Piston Cup and the fame it will bring. While en route cross-country to compete against two veteran speedsters (voiced by Michael Keaton and real-life racing legend Richard Petty), Lightning is unexpectedly detained in the neglected desert town of Radiator Springs, which, in its heyday, had been the jewel of the Route 66 crown.
Though revved up to burn rubber out of town, Lightning, through his growing friendship with its motley four-wheeled residents, has a change of heart about life in the fast lane, learning that "there's a whole lot more to racing than winning."
A top-shelf cast provides the characters with endearing personalities; they include: Bonnie Hunt as a pretty Porsche; Cheech Marin as a 1959 Impala with flair; Tony Shalhoub as a high-strung Italian Fiat; and George Carlin as a hippie 1960 VW bus who brews his own organic fuel and has a good-natured running feud with neighbor Sarge, a patriotic World War II jeep.
Hollywood icon Paul Newman lends his gravelly muffler to Doc Hudson, an old-timer who guards a big secret under his vintage hood and who frowns his fender at Lightning's egotism. But a rusty, dimwitted tow truck with an engine of gold named Mater (voiced by comedian Larry the Cable Guy) steals the show, including a funny scene where, for kicks, he initiates Lightning into the car-equivalent of cow-tipping involving a field of easily spooked tractors.
Following past Pixar successes, the writing is sharp, while the vibrant visuals --- impressively rendered metallic surfaces, shiny tailfins, high-octane race sequences and lovely painted desertscapes --- take a backseat to solid storytelling.
Though lacking the epic sweep of "Finding Nemo" and the character depth of "The Incredibles," given our hectic world of fast food, express lanes and high-speed Internet access, the film's gentle message charmingly reminds us that on the highway of life it is important to slow down and appreciate the scenery.
The USCCB Office for Film & Broadcasting classification is A-I --- general patronage. The Motion Picture Association of America rating is G --- general audiences. All ages admitted.
The Break-Up (Universal)
Tepid but fitfully affable romantic comedy charting the deterioration of the relationship of an art gallery assistant (Jennifer Aniston) and a loutish Chicago tour bus operator (Vince Vaughn) who ultimately learns to be a more considerate person. Director Peyton Reed draws good work from the stars, especially the effortlessly appealing Aniston and a scene-stealing Judy Davis, though the protagonists from the start seem distinctly incompatible. Underneath the not-very-funny funny business, there are some universal truths about relationships, but the setup never quite rings true, and the script should be way sharper. Considerable profanity and crude language and an instance of rough language, some crass sexual banter, partial nudity and a permissive view of premarital relationship. (L, PG-13)
Land of the Blind (Bauer Martinez)
Disappointing and sadly misguided political satire about jailed playwright turned terrorist (Donald Sutherland), who upon release from prison assassinates the petty tyrant (Tom Hollander) of the unnamed country, and then imposes a repressive regime of his own, turning on even the idealistic military man (Ralph Fiennes) who helped pull off the coup. Writer-director Robert Edwards attempts to leaven the grim tale with some sardonic humor, and Fiennes delivers his accustomed superlative performance, but the cautionary points about the corrupting of power, with no doubt several contemporary parallels in mind, are fairly standard beneath some cinematic flash, while the nonstop expletives and occasional sexual elements seem gratuitous. Pervasive rough language and crude expressions, some profanity and irreligiosity, sexual situations and partial nudity, violence and brutality, and gratuitous scatological elements. (O, R)
A Prairie Home Companion (Picturehouse)
Leisurely paced, virtually plotless fictional riff on radio raconteur Garrison Keillor's long-running series as Keillor (playing himself) presents his "final" show, with top-liners including singing sisters (Meryl Streep and Lily Tomlin) and cowboy (Woody Harrelson and John C. Reilly) acts, while 1940s sleuth Guy Noir (Kevin Kline), a mysterious femme fatale (Virginia Madsen) and a shadowy figure (Tommy Lee Jones) weave throughout the action. Fans of Altman will appreciate the trademark multicharacter canvas, and naturalistic setups (with lots of overlapping dialogue), used to mourn the passing of a gentler age. The country-styled tunes are a highlight. Some brief crude humor, mild irreligiosity, some innuendo and risque song lyrics, and an instance of profanity. (A-III, PG-13)
The Proposition (First Look)
Artful but unsparing 1880s-era Australian outback Western in which a British law enforcement officer (Ray Winstone) gives a gang member (Guy Pearce) the chance to save his jailed kid brother's life, provided he finds and kills his vicious older brother (Danny Huston). Director John Hillcoat's uneven film from a Nick Cave script is well acted, including performances by Emily Watson as the officer's delicate wife and John Hurt as a drunken bounty hunter, and is not without moral complexity, but the violence and bloodshed are exceedingly hard to take. Pervasive brutality and violence, beatings, murder, rough language, and a nongraphic but disturbing rape. (L, R)
See No Evil (Lionsgate)
Grim and grisly horror film about eight coed juvenile delinquents (including Christine Vidal and Michael J. Pagan) who, while renovating a creepy abandoned hotel as part of their community service, find themselves stalked by a hulking homicidal squatter (professional wrestler Kane) lurking in the hotel's labyrinthine halls. Director Gregory Dark serves up one gratuitously violent scene after another, stringing them together with a virtually nonexistent plot. Excessive intense gory violence, including scenes of dismemberment, vulgar images and humor, sexual situations, suggested masturbation, rear shower nudity, drug content, and pervasive rough and crude language and profanity. (O, R) David DiCerto is on the staff of the Office for Film & Broadcasting of the U.S. Conference of Catholic Bishops.
|