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Diabetics need to be wary of Andy and Larry
Wachowski’s adaptation of the cult anime series Speed Racer — the big-screen
version contains so much eye candy, you’re liable to slip into a
coma. These talented siblings proved in the original Matrix that they were capable of
delivering eye-popping spectacle; unfortunately, the Matrix sequels demonstrated
that they weren’t all that strong on narrative. That weakness is evident in Racer, which sports some of the most
dazzling digital derring-do you’re likely to see in many a year.
Emile Hirsch takes on the title role as a young man whose need for speed is
only outweighed by his desire to win the race where his brother, Rex, met
an untimely death. He has the full support of Pops and Mom (John Goodman
and Susan Sarandon), as well as his gal pal Trixie (Christina Ricci), but
that may not be enough. The races are treacherous cross-continent treks or
contests that take place in cities built strictly for racing. With a large
corporation out to get him, Speed has his work cut out for him. And dare I
mention the presence of the mysterious Racer X (Matthew Fox)? Those familiar with the old series will be impressed
with the way the Wachowskis have worked in all of the show’s familiar
elements, and there’s no question that the kaleidoscopic world that
Speed races through is a dynamic digital rainbow come to life. The problem
with the film is that winds up being more of an exhausting marathon rather
than an invigorating sprint. The film’s palette goes from dazzling to
oppressive after 45 minutes and with the running time over two hours,
viewers are likely to feel beaten up rather than entertained. Speed Racer goes, all right.
The problem is it doesn’t know when to stop. Also hitting local theaters this Friday: • Redbelt (David Mamet). You could call this a thinking
man’s version of Rocky, but that’s doing this complex tale of
honor and self-respect a disservice. Chiwetel Ejiofor is Mike Terry, a jiu
jitsu master who’s struggling to keep his martial arts academy
afloat. Eschewing contests where he could win big purses, Terry finds
himself sucked into the burgeoning sport of mixed martial arts fighting,
when circumstances play out that may well force him to lose his business.
Mamet has always been fascinated with what lies beneath the surface of
things, and that’s present here as well as he takes potshots at the
action-film industry and the world of professional sports. The spectacle on
display in these two arenas thinly obscures layers of corruption and
deceit, environments that Terry is adrift in. Ejiofor delivers a powerhouse
performance as a man at odds with the world around him.
This article appears in May 1-7, 2008.
