Roaring ode to old-school racing Cars 3 (G)
102 mins Life is good for Lightning McQueen (Owen Wilson). Still a regular Piston Cup podium finisher, he’s having fun on and off the track.
But the No 95’s future is about to get very grim indeed. A new generation, spearheaded by Jackson Storm (Armie Hammer), of hi-tech racers threatens to dominate the sport. After Storm wins four races in a row, McQueen’s attempts to push himself to the limit end in disaster with a potentially career-ending crash.
Retreating to Radiator Springs to contemplate his next move, he only decides to throw his hat back in the ring just weeks before the new season. By that time, Team Rust-Eze has new owner – mudflap magnate Sterling (Nathan Fillion) – who wants to make McQueen the leading light of his newly made-over racing group.
However, when the ageing speedster struggles to adapt to the new training methods dictated by guru Cruz Ramirez (Cristela Alonzo), Sterling attempts to persuade him to quit before he damages ‘‘his brand’’.
Desperate to go out on his terms, McQueen pleads to be given one more chance to prove he’s still a winner.
The most polarising of Pixar’s productions since its inception, the Cars franchise roars back into life here after 2011’s confused and convoluted spy caper Cars 2.
If the original was a paean to small town life, rookie director Brian McFee’s (a storyboard artist on the previous two movies) tale is an ode to old-school racing – be it dirt tacks or demolition derbys – and a condemnation of the modern-day ‘‘Moneyball’’ style approach to motorsport.
It’s also a celebration of actor Paul Newman, who’s voice is resurrected as McQueen aims to pay a suitable homage and seek inspiration one last time from Newman’s Doc Hudson.
If the plot feels like the traditional Hollywood blockbuster passing of the torch between generations, at least it’s done here with style, humour and chutzpah, even if it means the ‘‘bad guys’’ play a distant second fiddle.
And while it might be a little too serious for some youngsters, there’s plenty of action and adventure to keep them entertained.
As is usual, cinemagoers get the bonus of short film before the feature. In this case, it’s one of Pixar’s best. Lou is the terrific tale of a school bully learning a valuable lesson and a suggested answer to the question of how things end up in the Lost and Found box. It is inventive, emotional and engrossing. – James Croot