SPEED RACER 2008 RACING GHOST TV

SPEED RACER 2008 RACING GHOST TV

Part of Esurance's tie-in was a TV commercial, directed by Chris Hauge for WildBrain, which saw their controversial animated mascot Erin Esurance driving a pink moped to the film's premiere. However, it would receive a gradual cult interest among critics and fans following its release, its style, in particular, being influential to filmmakers Phil Lord and Christopher Miller. Despite of this strategy, Speed Racer made around $100 million less than its budget on opening weekend and received lukewarm reception from critics. Their tie-in website, which can no longer be found and even less fortunately was not recovered by the Wayback Machine, hosted behind-the-scenes interviews, wallpapers, film clips, renders and sweepstakes, the grand prize winner earning a two-night stay in Los Angeles and a tour of the Warner Bros. Ted's Evaluation - 3 of 3: Worth watching.Promotional image for Esurance's Speed Racer tie-in.ДЄmong the sponsorship deals arranged for Lana and Lily Wachowski's 2008 film adaptation of Speed Racer was with American online insurance company Esurance.

I consider this serious work, and an advance in film grammar that possibly will be profound. And on our part to discard, to race ahead of the track suggested, to speed ahead and get to the end before even the movie. But there's a deeper effect: there is so much motion here, so many paths we can choose from to decide what we see, that there's a sort of tease between the film and our mind about what options they will present В— and what tricks they will use to suggest paths to comprehension. That overloading of serious visual grammar has an immediate effect: that we are really there instead of digesting something filtered to be simple enough for us to understand. They run riffs whose patterns are derived from the languid, meaningfilled studies of what went before, but which are presented so quickly you cannot possibly comprehend the fullness with which they were originally loaded. These folks are to Welles as Coltrane is to Getz. Previously, 'Bound' was my favorite Wachowski film because it suppressed the noise of the story so as to equal the expression of that story in terms of the eye, the desire of eye. But people watch 'The Matrix' and build religions around the story mechanics as if they matter. Sure, those plots are about watching as well. That intent is to visually explore what it means to watch. I consider this the best of the brothers' films because their sometimes intriguing plots distract from their deeper intent. The watchers of the 'race' are watchers of the movie. In fact, there's a statement there that matters. There's real value in how the story is told even though the story is as close to vacuous white noise as possible. The contrast is shocking, with this Wachowski business seeming to be mere busy style.

Coursegrained long form would be the cinematic values of that Peter Greenaway film, where the narrative has substance and is cast cinematically. But this is highly cinematic in a fine-grained sense. All the shots with the parents could have been replaced with a dialog card so far as I care. Sure, the story is silly and there are the requisite two lessons for children. I saw this the same night as the latest film by my favorite filmmaker and I must admit that this held its own.

Speed racer 2008 racing ghost