The Cars films have always felt a little like Pixar, the pioneering animation studio behind Toy Story, Up and last year’s Finding Dory, in the third rather than fifth gear.
Cars 3 is the second sequel to have spawned from the 2006 original; the third in a franchise that has, for over a decade now, whiffed somewhat disappointingly of commerce rather than creativity. With over $10bn banked already from merchandise alone, Cars has certainly proved itself to be a hugely profitable vehicle. The unfortunate result is a series that opportunistically loads each new film with fresh and disposable characters at the expense of developing old ones. Cars 3 won’t win over the naysayers – it’s got its predecessors’ rusts and some – but fans should be satisfied whilst those on the fence may find themselves surprisingly touched by the time the credits role. Naturally too – damn it Pixar – the animation itself is dazzling.
A fear of the dark haunts humanity from birth to death. It is a fear of the unknown. A chill down the spine. The shadow in the corner of your eye. It has also proved itself to be an abundant gold mine of invention for storytellers across history.
Such is the case with The House, the latest tired frat comedy from Brendan O’Brien and Andrew J. Cohen, writers of the Bad Neighbours films and last year’s Mike and Dave Need Wedding Dates,with Cohen in his directorial debut. This one teams the admirable and winning talents of Amy Poehler and Will Ferrell as Scott and Kate Johansen, parents of Alex (Ryan Simpkins), who turn their neighbour’s basement into an illegal casino to raise enough money to send their daughter to college.
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