All I knew was that the promotional images really captured my attention, due to the pretty colors, with up-and-coming actress, Elle Fanning in the center. Going into this film, I didn't truly know what to expect.
#NEON DRIVE SOUNDTRACK COVER TV#
The uncut version appears to be available through iTunes only, despite being an Amazon production,which you can find here: (That means if you want to watch it on a TV you'll need an AppleTV to play it). In short, the unrated cut sounds a lot more "squishy" with ample "smacking" sounds. The foley work and soundtrack during the unrated morgue scene are subtly but noticeably different. (B) Note that the unrated version also shows Ruby's hand brush along the genitalia as it sweeps up to the left breast (R rated version prolongs the cut-away to the Jessie fantasy shot), and also depicts Ruby bouncing on the corpse as she reaches orgasm (while the R rated version shows only the close up of her face). In the "unrated" version (NOT the theatrical version or the director's narrative - which both emulate the R rated version seen in US theaters), that same moment depicts VERY clear labial exposure (as in medical clarity, yet artistically depicted). In the R rated version (which played in US theaters), when Ruby was kissing the corpse (played by a female actress), the bottom of the frame showed the upper half of the vulva (inclusive of somewhat blurred labia, due to the camera focus on the kissing). Even though a soundtrack that consisted entirely of Newman's pieces and songs would be more in keeping with Pixar tradition, Cars does a good job of balancing its pop and score elements.The theatrical R-rated version and unrated version are different only in the second morgue scene as follows: (A) Female genital nudity is depicted 1 hour 29 minutes and 0 seconds into the film. And as always, the whimsical love theme "McQueen and Sally" and self-explanatory "Goodbye" show that Newman is still capable of being sentimental without being schmaltzy. "Opening Race" alternates between brass fanfares and revved-up guitar riffs, while the thrilling strings on "McQueen's Lost" and "Dirt Is Different" suggest curving roads and wide-open landscapes. Newman's score, meanwhile, follows in the tradition of his Toy Story and A Bug's Life work, translating his witty musical style into orchestral pieces that are rooted in traditional film music but never sound stuffy. The soundtrack also ties in the film's NASCAR motif with country songs like Rascal Flatts' version of "Life Is a Highway," which sounds like a slightly twangier take on Tom Cochrane's smash hit, and Brad Paisley's "Behind the Clouds," a sweet, affable, traditional country song that is one of Cars' highlights. The Chords' "Sh-Boom" and Chuck Berry's "Route 66" add a sweetly nostalgic feel to the album (later on, John Mayer contributes a blandly slick version of "Route 66" that could appear on virtually any soundtrack). There's also a '50s undercurrent to the soundtrack, nodding to the fact that many of the characters in the film are cars designed during that decade, including a 1959 Impala and a 1959 Fiat 500. As good as she is at the thoughtful, mellow ballads that made up Wildflower, she's truly incandescent as a smart but happy-go-lucky rock chick. Indeed, the biggest surprise may be the soundtrack's opening salvo, Sheryl Crow's "Real Gone." With a stomping beat and driving (no pun intended) riff that echoes the Who's "I'm Free," this is the most fun her music has been in years. Both the pop music and score for Cars fit the film perfectly, and neither is totally predictable. However, that's only in comparison to the brilliant soundtracks to their other movies - especially Finding Nemo and The Incredibles. With a track listing that's roughly half rock, country, and pop songs and half Randy Newman's score, the Cars soundtrack is probably the least inspired collection of music to support a Pixar film.
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