The story isn’t much: an illegal road race where only the bravest can compete, opposed by a corrupt leadership, and surrounded by gambling and drugs. The story of a racer and his ambition to win the world’s greatest competition isn’t new, but Redline is this concept at its best – fabulously over the top, and always maintaining its high pace. Given the 100 minutes running time, I unexpectedly found myself appreciating not only the racing, but how well every mini-story is tied together. Redline provides a large cast of both the story-driving characters and the fun ones that bring fun and life into the hectic action. JP is our classic good guy in a bad situation, with a talent for racing but surrounded by a history of race-fixing. He’s the loveable underdog who’s easy to root for, simple and good with the ladies. It’s cheesy and clichéd in the best sense of the words. The focus is not just on JP though, and we have a wonderful supporting cast with their own distinct styles and eccentricities – most notably Sonoshee, JP’s instant love-interest and a talented racer with an endearing backstory of her own. In truth, each member of the Redline race is given the screen-time to be a character in their own right, and the only aspect of the plot and pacing I would criticise in Redline is that given the film’s length, arguably too much time is spent focusing on the side characters. As a result though, each character manages to have a distinct flavouring to them, such that, when your gaze is thrust on the side characters, it’s a cause to celebrate and revel in each character’s individual wackiness. Wacky really is the best way to describe every character.
Whether you like the actual over the top art style is a matter of personal opinion (JP’s hair is undeniably a thing of beauty though). On the animation side however, it cannot be said Redline does not look sublime, and the greatest benefit of the film’s limited running time is that every scene manages looks amazing. The slum-like conditions and environments are drawn with an attention to detail that entirely justifies Redline’s five-year development hell. Nothing could be act as a better debut for the talents of Takeshi Koike, whom I’m hoping to see much more of in the future.
Musically Redline is never invasive, but there are tracks that stick out during the races. The best thing to say about the soundtrack is that it’s incredibly easy to enjoy when you just want to take in the awesome music, and when you want to enjoy the action, the music is there to kick start the adrenaline rush, but never to flood out the neverending chorus of explosions.
Redline is familiar without feeling overly so. Most of all though, it embraces the concept of sensory overload and expresses this style down to the smallest details. It’s ridiculous, but wonderfully enjoyable, and I think the best way to summarise Redline is by enjoying the experience of plunging your head into a washing machine infested with fresh cheese for 1 hour and 42 minutes.
