Critique in Speed Racer

The Wachowski's Speed Racer is a film like no other. Aesthetically, it is a critique of the film medium. By exposing the apparatus of CGI, the Wachowski's embrace the contrived reality of the film world and revel in its artificiality, simultaneously critiquing those films (including their own work) that has tried to hide it so carefully while reveling in the amazing visual power of digital film. The film also critiques the way in which we classically understand and tell narratives, casting linearity to the side and replacing it with a stylized 'race collage' form that is guided by kinetics rather than temporality. These formal critiques serve as the ideal backdrop to the thematic weight of the film, which criticizes money motivated corporations in favor of the art and expression found in the individual and family.
The CGI used in the film can be described as nothing less than exuberant. Always favoring color and form over 'realism', Speed Racer does not mind that you will immediately recognize the world as fake. This is exactly its purpose. The architecture is nonsensical and the physics impossible. This serves two purposes, in my mind. The first is to draw the viewers attention to the insincere nature of film as a medium. Almost every film utilizes fake sets, special effects (even if they are practical), and camera angle and techniques that cavalierly break the rules of physics and reality in the name of 'narrative'. By breaking these rules with such exuberance, the Wachowski's demonstrate that critique is not only possible, it can be joyful and jovial.
This childlike joviality is blatantly apparent in the way they choose to tell the story of speed racer. The Wachowski's construct a new narrative form I term 'race collage'. Pulled heavily from Japanese and American cartoons and action films, the race collage form prioritizes kinetics over all. Though a clear three act structure still acts as the backbone of the film, the individual sequences are told in a radically new way. Flashbacks, flash forwards, talking heads, and stunning action sequences are stacked together with literally no breathing room, the oncoming action often acting as the transition that wipes the previous from the screen. The viewers eye leaps from image to image, engaged primarily through kinetics, while plot is delivered secondarily. Similar to the visuals of the film, this is also an exuberant critique. Not only does it point out the method in which chaos cinema is increasingly engaging its audiences, it does it better than any other film of its kind, reveling in its own critique.
These formal choices all lie as a backdrop to the thematic critique of the film. The money grubbing corporations of Speed Racer could not be more evil, relying on piranha-feeding mobsters, shady deals, and straight out cheating to accomplish their means. They are the perfect antithesis to the Racers, who live in a classic 70's American home, are more excited for a glass of milk than a gold trophy, and are raised by John Goodman (as all good American boys should be). Rather than splitting apart at the first sign of trouble, the Racers learn to stick together through their hardships. Instead of racing for money, they race for 'art' as Mrs. Racer reminds Speed, and use the organic and encouraging phrase 'it's in our blood' to remind themselves why they do what they do. Ultimately, the Racers triumph, not only taking home the trophy, but also coming together as a family. Mr. Royalton ends up behind bars, where all money grubbing CEO's belong. This critique is also done with childlike exuberance, not holding back from a single cliche.
Speed Racer is a film that proves that you can poke fun while still having fun. Though regarded by many as nauseating eye candy, I would argue that Speed Racer is acutely aware of the moves it is making, and can be seen as a joyful critique. It is one of those rare films, like Young Frankenstein and Deadpool that manages to make fun of its own medium, while simultaneously managing to be one of the best examples of that very medium.