The movie argues that the best thing Lightning (who’s always been coded as a good ol’ Texas boy) can do to help preserve his legacy is try to find ways to hold open doors for cars that are not at all like himself. Seriously! This is a major part of Cars 3’s climax! 2) As a child’s primer to how white men can both acknowledge their privilege and work to dismantle it Lightning and Cruz race down the Florida beach. By the time Lightning tries to tap into his roots by visiting legendary racers in North Carolina, I felt slightly checked out. Pixar used this tendency to let its stories swerve all over the place to great effect in 2012’s Brave and 2013’s Monsters University, but Cars 3 has maybe a few too many head fakes. It gives the movie a tried-and-true spine - old-fashioned knowhow versus new tech - but it also means that every time the story seems to be gaining momentum, it veers completely off course in a new direction. Instead, he goes on a random tour of the American South, visiting hallowed racetracks. But Lightning isn’t one for high-tech gadgets that might help him eke out a few more miles per hour from his chassis.
If he wants to beat the young whippersnappers, he’ll have to either outsmart them or out-train them. Lightning isn’t going to suddenly become faster in his middle age.
Newer, sleeker race cars are outpacing him on the track, and he’s desperate to make a comeback.īut Cars 3 resists the most feel-good version of that story, to its credit. Lightning McQueen ( Owen Wilson), the hotshot race car who learned to take it easy in Cars, has succumbed to the ravages of time, as we all must. This is the angle Disney is pushing most in the trailers for the film. 1) As a surprisingly downbeat look at aging Here are six useful ways of thinking about Cars 3. Still, that doesn’t mean it’s devoid of value. The movie is constantly trying to outmaneuver itself, leading to a film that’s pleasant but not much more. Like all Pixar movies, Cars 3 is gorgeous - the landscapes the characters race through are more photorealistic than ever, recalling The Good D i nosaur (another recent Pixar misfire that nonetheless looked great) - but like most of the studio’s 2010s output, its storytelling is perhaps too complicated to really register. It’s not to the level of that first film, but its amiable, ambling nature keeps it from becoming too boxed in by its needlessly contorted plot (which all but spoils its own ending very early on, then spends roughly an hour futilely avoiding said ending). Thus, it’s a relief that Cars 3 skews more toward the original flavor than the sequel (a spy movie–inflected mess that revealed a Pixar slightly out of its depth with something so action-heavy). Vox-mark vox-mark vox-mark vox-mark vox-mark
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