The sequel lacks Pixar's usual heart, and proves to be a product instead of art.
Cars 2, the latest from that assembly line of a studio we call Pixar, epitomizes all the gaping problems with the state of movies today. Though not without a few humorous moments, the animated picture doesn’t just spoon-feed children a dim, unimaginative tale that fills our cultural hunger for escapism. It unapologetically blurs the line between art and advertising, making clear that it’s simply not a movie but, instead, a product.
Void of spirituality and intellect, the story functions like a dumb action flick. It refuses to make viewers think and caters to an overly entertained and impatient culture. Through a simple, speedy plot involving espionage and car racing in Japan, France, Italy and England, director John Lasseter shows no apparent intention of creating something of value. He doesn’t challenge and inspire our youth or provide any real insight into human experience. A product of the worst kind, his film merely gives us a means to leave reality for empty entertainment.
Of course, the end goal turns out to be even more disappointing. From start to finish, there’s no mistaking that all the action and brainlessness, which as a note is visually generic and unimpressive, only exists as product placement anyway. The original Cars achieved mixed critical success, earning the label of a lesser Pixar production. However, the merchandise in its aftermath has earned Disney billions of dollars, and that’s paved the way for, well, a sequel to continue the cash flow.
Such a conclusion surely seems harsh and cynical, especially considering the film’s apparent audience, but the reality of it leaves no room for debate. Beyond all the flashy cars set to become toys for kids and the automobile companies being promoted, the story itself proves to be manipulated by one big marketing scheme. With complete intentionality, it highlights four of the biggest manufacturing countries in the world, which just so happen to be some of the biggest U.S. movie markets. Lasseter even discussed this marketing strategy with the media, confirming the real motivation behind his new film.
Another part of the sell comes to the screen in a party scene set in Tokyo. As it turns out, Pixar created different versions of it for the different countries that would be seeing it. These unique scenes all feature famous race car drivers from the given locations. Though it provides local audiences with a surprising treat, the gimmick cannot be justified as anything other than a marketing device intended for larger box office success. It doesn’t enhance the actual story. It plays off cultural phenomena to herd more moviegoers into theaters.
This central problem invokes the topic of last year’s Exit Through the Gift Shop. Through an intriguing story about underground graffiti artists and a man who filmed them, the hipster documentary ultimately probed the question, “What is art?” as it explored the thin line between art and product. In doing so, it showed just how thin that line can be. Contrarily, the latest from Pixar depicts how sometimes that line isn’t thin at all. Sometimes it’s really easy to distinguish between art and product. Undeniably evident, Cars 2 proves to be the latter, and the worst part is, the product stinks.
David Roark is a film critic for RELEVANT and Dallas Morning News. Check out his blog and follow him on Twitter.
