Has a multi-billion-dollar franchise ever had this much confusion and inconsistency with a name? The Fast and Furious saga, which is what we’re now calling it I suppose, began twenty years ago in 2001 and has undergone all sorts of titular irregularity. We’ve had different adjectives favored (Fast Five, Furious 7) and even gone the route of number-related wordplay, like 2018’s very soap opera-sounding The Fate of the Furious (spelled F8 in some incarnations). The ninth entry is titled F9, and by the logic of the previous sequel, I would assume that was intended to stand for “Fff-nine,” or likely “Fine,” and at this point an implicit admission of the franchise just not even trying to be relatable to any kind of recognizable pattern or order or even coherency. Alas, the title is apparently only supposed to be read as F-9, followed by the also soap opera-sounding The Fast Saga subtitle (sorry, “Furious,” maybe you’ll regain credit billing in the tenth movie in 2023). Maybe that will include the soap opera-sounding subtitle, “As the Wheels Spin.” It’s all just a curious way to handle name recognition for a twenty-year blockbuster franchise. F9 was delayed a year from COVID, a phrase that will be repeated a lot with upcoming fall releases, and after watching the 130-minute sequel, I think the franchise has finally exhausted its general appeal for me.
I’ll begin by stating my own apologist stance on the Fast saga. I’ve never been invested in this franchise for the characters (with the exception of The Rock because he is The Rock) or for the stories, and I doubt few others who even consider themselves fans would differ. I watch these movies for their ridiculous stunts and action set pieces that don’t just defy the laws of physics but make the ghost of Isaac Newton vomit. As long as those action set pieces delivered the goods, I was able to forgive much. And I have had to ignore or forgive a lot but until now I have found those set pieces able to clear an increasingly elevating hurdle, the baggage of these characters and trying to make me care even as they become impervious superheroes that have long left the earthbound trappings of a scrappy team of underground street racers lead by Vin Diesel back in 2001. Now Diesel is 54, every member of his beloved crew/family will never die even after they appear to die, and the filmmakers have decided to introduce a long-lost adult brother played by John Cena, never mind the fact that these two muscle men don’t look like they share a single shred of DNA. It doesn’t matter, and the question remains what even matters any longer for a franchise defined by its brain-melting excess? It’s a soap opera with spy missions. It’s dumb fun to eat popcorn to. That’s all.
I acknowledge the inherent absurdity in bemoaning the over-the-top nature of a franchise whose very appeal was its over-the-top nature. It’s hard to define but every movie universe has a line of sustainable believability. Once that line is crossed, you feel it. The Fast saga has played with this tenuous tonal demarcation line for over a decade. In the eighth movie, the cars were outracing a nuclear submarine and cracking ice floes and The Rock redirected a torpedo with his biceps. That’s crazy, but remember The Rock is a superhero among us mere mortals. In the seventh movie, the cars parachuted out of a cargo plane and drove through skyscrapers. In the sixth movie, they faced off against a tank. And yet, I happily accepted those flights of fancy because they kept me entertained ahead of that nagging sense of incredulity that they were able to somehow outrace. With F9, even with the return of director Justin Lin (Fast 3-6), it feels like the franchise finally crossed that line for me. I completely understand any reader that wants to point and shout “hypocrisy.” In the arms race of action imagination where the producers have had to come up with bigger and more wild set pieces, I think they have inevitably gone from self-parody into ironic self-aware self-parody and back into self-parody again. The best way I can describe it is with the two Expendables movies. The first was amusing action bravado self-parody but then the second film tried to be in on the joke, and all the winking “we get it too” meta commentary just sapped all the enjoyment out of it. The same thing happened with the two so-bad-they’re-good Birdemic disaster movies, with the first a sincere bad movie, and the second trying to be an ironic bad movie, and it just wasn’t the same. The appeal was gone. For me, F9 is the signal that this franchise has begun its descent into Birdemic 2 range and yes, they go to space in a space car and isn’t that what all us irony-drenched fans wanted? It’s like the disappointing be-careful-what-you-wish-for warning of Snakes on a Plane all over again.
Another factor that sank the movie for me was the inclusion of the long-lost brother storyline, especially considering the Diesel character is all about the vague platitude of family. In order to justify this significant oversight, the storyline has to resort to numerous flashbacks to fill in the sordid family details between the feuding brothers. I cannot overstate just how much I do not care about the characters in this franchise, so devoting more time to introducing complicated family histories with melodramatic flashbacks is not what I want to experience during the downtime in between the next explosion. By trying to take these characters and their relationships seriously, or seriously enough, we’re forced to slog through personal drama nobody asked for or actively desires. Better to embrace the soap opera absurdity and just have Cena show up and then every other set piece another long-lost brother shows up, and then we keep cutting back to the same singular flashback but now it’s revealed that another brother was there too previously unseen on the peripheral of the camera. The same thing goes for having to bend over backwards to explain the re-emergence of Han (Sun Kang), a character killed in the sixth/third movie by the-then bad guy (Jason Statham) that we like too much now to be the bad guy. I don’t care that he’s alive again, and the convoluted yet still unsatisfying vague plot to explain his fake death is unwanted as well. Apparently, the only character who will remain legitimately dead in this series is Gal Gadot (for now).
For the hard-core fans, there may be enough nitro juice in F9 to still provide a satisfying jolt of high-octane entertainment. Lin still has a nice command on action sequence visuals and there’s some large-scale carnage that tickles even while it’s undermining every concept of magnetism. Unfortunately, the joy I felt with previous action incarnations from the series was not recaptured this time. It just doesn’t feel as memorable, at least in a positive way. Going to space is memorable, but not in a positive way, unless they had to race a universe of aliens on the moon to save the Earth. I genuinely like Cena as an actor, but he’s far too strait-laced and dull here. Watch the recent Suicide Squad reboot to be reminded just how charming and comically talented he can be in the right role. Diesel seems to be putting less and less effort into every performance almost like a dare to the audience on how little they will accept. There were a few shots I watched where I felt like he was on the verge of going to sleep. The villain is lame, the movie has too many competing comic relief characters, and it’s all too long. I’ve been a defender of the blockbuster bombast of the Fast saga. I’ve considered myself a fan of its outlandish set pieces and ludicrous stunts. I’ve been able to ignore what didn’t work. Alas, the time has come where I can no longer do that. I just felt mostly indifferent and bored for much of F9, and its action highlights couldn’t save the extra emphasis on convoluted soap opera melodrama. Your mileage will vary as far as what you can forgive, but F9 feels like the appropriate off-ramp for me.
Nate’s Grade: C
I don’t care one lick about cars and I was greatly entertained by Ford vs. Ferrari, a thrilling look back where the gear-heads at Ford wanted to build a new model of racing car that could challenge the seemingly unbeatable Italians at the Le Mans raceway. The smartest move the movie makes is placing this as a character-driven story with a group of big personalities solving a puzzle and trying to prove the arrogant suits wrong. It has such winning elements that it’s got crowd-pleaser DNA all over it, even if you’ll likely predict every step of the story. Even if you know nothing about the history of racing and motor vehicles, you can suspect that designer Carroll Shelby (Matt Damon) and driver Ken Miles (Christian Bale) will, through grit and confidence and outside-the-box thinking, overcome their obstacles to win the 1966 Le Mans race. The movie even realizes this, and that’s why the climax of the movie isn’t whether or not Ford will triumph but on a very personal dilemma and choice. It’s less about the mechanics of cars and more about simply solving problems with innovative solutions, and there’s a great satisfaction in watching characters we care about get closer to solving a puzzle that has outwitted the masses. As the characters get excited, we get excited because the personal is what is felt most. Miles is an arrogant, disgraced driver that Ford doesn’t want being the face of anything for the company. Shelby is trying to transition from being in a car to the head of a company, and he’s the heat shield for his team, taking the corporate ire and laying more and more on the line for their experiments. Damon is great, and sounds uncannily like Tommy Lee Jones, but this is chiefly Bale’s movie and he is fantastic. He once again just disappears into a character, this time the lanky, cocky, hard-driving family man, and the scenes with Miles’ wife and son actually provide important dimension to all the participants. They aren’t simply there to express concern or admiration. The screenplay by the Butterworth brothers (Edge of Tomorrow) and Jason Keller (Machine Gun Preacher) have opened up these characters, their fear, anxieties, hopes, and dreams in a way that feels genuine and considerate. They hook us in with the characters early, so that the rest of the film serves as a series of payoffs for our investment. The racing sequences are thrilling as director James Mangold (Logan) has his camera career around the cars, placing the audience in the middle of the RPMs and feeling that immersive sense of speed. I never knew that the Le Mans race is 24 hours long, and the scene of these 1960s cars, with 1960s windshield wiper technology, driving in the rain and dark at 200 miles-per-hour is starkly terrifying. I still don’t care much about cars or their history, but you present me engaging characters and Oscar-caliber performances to boot, and I’ll watch those people anywhere. Ford vs. Ferrari is a bit long (150 minutes) but a well-crafted, potent crowd-pleaser with exhilarating racing and strong characters worthy of cheering.
Nate’s Grade: B+
Car chases are one of the greatest things in movie history. The visceral sensation, the speed, the urgency, the thrills, the syncopation of edits to carry out the escalating collateral damage and stakes, it all works to seamlessly create one of the pinnacles of the moving pictures. If you’re going to create a musical where car chases are the chief instrument, then you could do no better than having director Edgar Wright as the maestro. Baby Driver is being hailed by critics as a blast of fresh air, an eclectic wild ride of an action movie with style to spare. That’s true. Unfortunately, this is the first movie of Wright’s career where it feels like the gimmick is all there is to be had.
Baby (Ansel Elgort) is the getaway driver for Doc (Kevin Spacey) and his crews. Baby was in a car accident that killed his parents when he was a child and he was left with tinnitus (a “hum in the drum” as Doc dubs it). To drown out the ringing, he listens to music at all times, including during those high-speed getaway chases. In his downtime, Baby romances Debora (Lily James) a diner waitress eager to hit the road without a map. Pulled into one more job, Baby is paired with a hotheaded group of dangerous criminals (Jamie Foxx, Jon Hamm, Eiza Gonzalez) that could threaten his future plans with Debora.
Baby Driver is a gimmick movie, but this isn’t exactly unheard of from Wright. Each of his movies has a strong genre angle that can tip over into gimmicky, so a gimmick by itself is not an indictment. This is, by far, the least substantial film of Wright’s career. Let’s study his previous film, 2013’s The World’s End. Like the other entries in the Cornetto Trilogy (Shaun of the Dead, Hot Fuzz), that film has a clear adoration for a certain genre and its styling, in this case alien invasion/pod person sci-fi. It didn’t just emulate the style and expected plot trappings of its genre. It spun them in a new direction while telling an engaging story on the strains of friendship over addiction and stalled maturity. It’s the heaviest and most emotionally grounded film in the trilogy. Every single moment in that movie adds up, every line, every joke, every plot beat, it all connects to form an inter-locked puzzle that would make Christopher Nolan whistle in appreciation. It wasn’t just clever plot machinations of genre parody. It was a layered and heartfelt story. It all mattered. With Baby Driver, what you see is pretty much what you get.
It’s a car chase musical, a novelty that certainly entertains with Wright’s visual inventiveness and ear for music. The film has that alluring quality of wondering what will happen next, especially with its extensive collection of songs on the soundtrack. A trip to get coffee can become a long take perfectly timed so that graffiti and prop placement along street windows lines up with lyric progressions in the song. Some sonic standouts include “Bellbottoms” and Queen’s “Brighton Rock” during the climax. There’s a fun sense of discovery with the movie and each new song presents a new opportunity to see what Wright and his stunt performers do. The car chases are impressively staged and the stuntwork has dynamism to go along with Wright’s high-level energy output. The emphasis on physical production goes a long way to add genuine excitement. This isn’t the ricocheting CGI car chase cartoons of the Fast and Furious franchise. As far as gimmicks go, it’s at least an amusing one. Perhaps I’m just a musical philistine, or more likely my brain just isn’t as accustomed to sound design idiosyncrasies, but I actually wish Wright had done more with his central gimmick. I’m fairly certain I missed half of the connections with the music. If this is the film’s calling card then it needs not be subtle; rub my face in all the clever edits and how the gunshots equal the percussion, etc.
The ceiling imposed upon Baby Driver is because of its characters. Wright and his collaborators have done effective work shading depth to genre characters in the past, even Scott Pilgrim vs. the World, which examined unhealthy usury relationships and entitlement. The characters in Baby Driver are defined by their archetype designations and often behave in unbelievable ways just because the plot necessitates them. The worst offender is Baby’s love interest, Debora. Her initial scenes with Baby are sweet and work on their own, but when she’s ready to abandon her life for a guy she met days ago, Debora comes across like one of those people who write engagement proposals to incarcerated felons. Her decision-making leaps don’t feel plausible. I don’t think she’s acknowledged her lingering co-dependency issues. The problems are magnified when so much of the second half involves Debora being put in harm’s way or needing to be rescued. Then there’s Baby, a kid with a conscience who uses music as an escape figuratively and literally. He’s too bland and uncomplicated for the lead. Baby takes care of a deaf foster father. He surreptitiously records conversations to remix them into Auto-Tune cassettes. Yes that really is as dumb as it sounds especially when those conversations involve criminals. All we know about Baby is he’s nice, he wants out, and he’s good at driving. Elgort (The Fault in Our Stars) doesn’t have the space to do anything but look cool and springy. The supporting characters are assorted hardasses and nincompoops. Foxx (Django Unchained) seems like he’s there always to push contrived conflict.
As a genre movie with above-average execution, Baby Driver is going to be a suitably enjoyable time at the movies for most. Wright couldn’t make a boring movie if he tried. However, it doesn’t feel like he tried hard enough with Baby Driver, at least to make a full-fledged movie. It’s an admirable assemblage of music and visuals but after a while it feels like a collection of music videos, albeit with highly impressive stuntwork. The movie suffers from overblown hype because it doesn’t have the characters or story to balance the action. There isn’t much of an attachment to what’s going on beyond the surface-level thrills of Wright’s central gimmick. As a result, you may get restless waiting for the next song selection to kick into high gear to provide another pert distraction. It feels like the gimmick has swallowed the movie whole and Wright was too busy timing his precise edits to notice the absence of appealing, multi-dimensional characters. Baby Driver is a fun movie with plenty of sweet treats for your senses but it’s too devoid of substance to be anything other than a rapidly dissipating sugar rush.
Nate’s Grade: B
Unlike many of my critical brethren, I do not view Michael Bay as the devil incarnate. I think the man has definite talent and is one of the finest visual stylists working in the realm of film. I’ve enjoyed about half of the Transformers franchise and don’t consider it the end-all-be-all of modern American cinema. Transformers: The Last Knight is exactly what the detractors have railed against from the start: a cacophonous ejaculation of incomprehensible nonsense. The charge has often been made against Bay’s long filmography that his stories are unintelligible, but Transformers 5 proves to be the new measuring point for incensed incredulity. This isn’t only the worst Transformers entry in a seemingly never-ending franchise (thanks product placement, merchandising, and toy sales) but an early contender for worst film of 2017.
Cade Yeager (Mark Wahlberg) is hiding out with other Autobots in a South Dakota junkyard awaiting the return of Optimus Prime (voiced by Peter Cullen). Prime ventured into space to find the remnants of the Autobot home world, Cybertron. Once found, he’s brainwashed by the Cybertron goddess Quintessa (Gemma Chan) into being her servant. She’s after an ancient staff that will prove to be the key to restarting Cybertron. It was last seen on Earth during the Dark Ages and rumor has it was given to Merlin. Cade is enlisted by a centuries-long secret society to help find the staff before the evil forces at bay get hold of it.
It feels like the Transformers 5 writers were on a week-long cocaine bender when they cobbled together this impenetrable narrative. Let me give you but a taste of the confusing, muddled, and overall mind-numbing plot as it exists. There’s a magic staff from the robot world that will recharge the robot world, and it just so happens 12 robot knights, which form a giant robot dragon, landed on Earth and gave it to Merlin, played by a soused Stanley Tucci who was already a different character in the fourth Transformers movie, who then established a secret order that would keep the giant alien robots secret even as they were doing things as high-profile as literally killing Hitler, and the members of this secret society include Frederick Douglass and Queen Elizabeth and Shia LeBouf, and this staff needs to be retrieved from an underwater spaceship under Stonehenge by Merlin’s blood progeny and will be aided by an alien talisman that forms an alien sword that does something, and the evil alien robots are going to recharge their planet by scraping the Earth’s crust, which has horns protruding from it that once aligned with Pangaea, and there’s an evil alien robot goddess who brainwashes Optimus Prime to retrieve her magical items on demand and then Megatron is being hired the U.S. government and a team of special ops are trailing him to get to the staff and… I’m sorry; did your brain start bleeding out your ears? I looked over to my friend Ben Bailey during the screening and saw him slumped over in his chair and thought, for a fraction of a second, that the movie had literally killed him (he had just fallen asleep for the third time). What an ignoble end.
The movie is a nonstop barrage of yelling and movement, an assault on the senses that leaves you dumbfounded and dazed, and without anything to moor onto. Almost every single actor is on screen for one of two purposes: quips or exposition. These are not characters but devices for words that ultimately don’t make sense. Wahlberg has two different female sidekicks. For the first half, he’s got a plucky teen that serves as a surrogate daughter figure. Izabella (Isabella Moner) is a kid with attitude and carefully arranged strands of hair that always fall over her face in every single shot in the entire movie. Izabella’s introduction actually might be the highlight of an otherwise soul-crushing experience. Then Wahlberg leaves for England and he adopts a new sidekick, this time the hot smart woman who changes into a more comfortable outfit but literally keeps her heels. Vivian (Laura Haddock) is pretty much the next in a long line of highly sexualized, tawny female characters under Bay’s alluring gaze (I wrote about the second film: “Women don’t seem to exist in the Michael Bay world, only parts and pieces of women.”). Her mother doesn’t care about the end of the human world, or her daughter’s many academic credentials, and instead pesters her about getting herself a man. This leads to one of the film’s worst comedic moments, as Vivian’s mother and friends giggle and eavesdrop on her and Wahlberg trashing a library as a spontaneous bout of sexy time. Wouldn’t it be weird for anyone’s mother to take pleasure in listening to your escapades and offer a play-by-play?
But the strangest characters are Anthony Hopkins’ Sir Edmund Burton and his 4-foot robot ninja (voiced by Jim Carter). You can clearly tell that Hopkins didn’t care at all what he was saying. He uncorks ungainly monologues with relish and then transitions into strained comedy as a doddering old man. The robot butler begins as a C3PO-esque prim and proper servant with a disarming fighting ability, and it works. However, as the movie progresses, the robot butler gets downright belligerent and seemingly drunk. It’s truly bizarre, as if this robot is acting out to be seen like he’s one of the cool kids, but whom exactly is he trying to impress? At one point, he tells Wahlberg that he is “on my shit list” and torpedoes out of a submarine, brings back fish, prepares a sushi dinner for the humans while supplying ingredients that were totally not found on a WWII-era sub that was parked as a tourist locale up until 20 minutes ago. The character makes no sense and seems to bounce around behavioral extremes. Take this passage late into the film:
Robot Butler: “Of all the earls I’ve served-“
Me: “You were the greatest?”
Robot Butler: “-You were the coolest.”
Another confusing part of the film is the setting of its story. We’re five movies in to an alien civil war taking place on Earth, so you would assume that normal life shouldn’t feel normal after so many catastrophes. Egypt was destroyed in the second film (only Six Wonders of the World left in your punch card, Bay), Chicago was decimated in the third film, and China was blown up in the fourth film. It’s about time that people started paying attention to these things and behaving differently. A new government agency is tasked with hunting down Transformers and there are war zone portions of the world that are quarantined, but that’s about it. I initially thought this fifth movie was going to take place in a somewhat post-apocalyptic Earth where human beings have to struggle to survive. That’s not Transformers 5 at all. It seems all too easy to ignore reality; Wahlberg’s daughter is away at college. After four movies, the world of this franchise needed a jump in its stakes. Bay’s films have always possessed an alarming sense of urgency but it rarely feels earned. Characters yelling, running, and explosions going off like fireworks isn’t the same thing as genuinely developed stakes.
Another confusing aspect of Transformers 5 is Bay’s jumbled aspect ratios (i.e. how wide the frame of the movie is presented). Sizeable portions were shot on IMAX, which has become all the rage for action movie directors since Nolan’s The Dark Knight. I expected that. What I didn’t expect was three different aspect ratios that jumped from shot to shot. Two characters will be having a conversation and the aspect ratio will cycle and it rips me out of the movie every time (there are SIX credited editors). The Dark Knight’s IMAX sequences worked because they were sustained sequences. I expect the higher-grade IMAX film stock for the expansive action or picturesque landscapes to take in the natural splendor. What I wasn’t expecting was measly interior conversations to be filmed in IMAX. Did I really need to watch a conversation with Vivian and her mother in IMAX to fully appreciate their bookshelf? Like much else in this perfunctory movie, this game of pin-the-tail-on-the-aspect-ratio makes no sense.
I don’t normally like to quote myself, but reading over my concluding paragraph of 2011’s Dark of the Moon, I was struck by how much of my assessment could equally apply to the fifth film, even down to the exact running-time: “Transformers: Dark of the Moon is likely everything fans would want from a franchise built around the concept of robots that fight. There’s wanton destruction, a plethora of noisy explosions, and plenty of eye candy both in special effects wizardry and pouty, full-lipped women. But at a colossal 150-minute running time, this is a Transformers film that punishes as much as it entertains. There’s really no reason a movie about brawling robots should be this long. There’s no reason it should have to resort to so much dumb comedy. There’s no reason that the women should be fetishized as if they were another sleek line of sexy cars. There’s no reason why something labeled a ‘popcorn movie’ can’t deliver escapist thrills and have a brain too.” Take this assessment and times it by ten for The Last Knight. The incomprehensible plotting, infantile humor, nonchalant misogyny, empty action bombast, and dispiriting nature of the film are enough to suck the life out of you. I was bored tremendously and contemplated walking out on the movie (I stayed for you, dear reader). It feels like the screenplay was put into a blender. Transformers 5 is exhausting and exhaustively mechanical, and if this is the first start in a larger Expanded Transformers Cinematic Universe (ETCU?) then resistance may be futile. Still, it’s worth fighting against brain-dead spectacle that only moves you to the exits.
Nate’s Grade: D
The Cars franchise is like the “goofy uncle” that nobody chooses to talk about at family reunions. We acknowledge it at most because we have to and then move onto other chipper subjects. I didn’t think it could get worse for Pixar than Cars 2. Then I watched Cars 3.
Lightning McQueen (voiced by Owen Wilson) is starting to lose his championship luster when a new rival, Jackson Storm (Armie Hammer), speeds onto the circuit. Humbled and wondering whether his time is up, Lightning trains to be faster than ever and regain his title. He goes through a series of training struggles with Cruz Ramirez (Cristela Alonzo), a spunky racing coach. Lightning misses Doc Hudson (Paul Newman, posthumously reappearing) and seeks out Doc’s old trainer, Smokey (Chris Cooper). Together, they plan to win back Lightning’s title and prove he still has what it takes.
I was ready for this movie to be over after its first ten minutes, and that’s chiefly because it repeats just about all the paces of the original Cars. Once again Lightning McQueen is bested by a new rival and has to re-learn the basics of racing, center himself as much as a car can, and open himself up to the help of others. Except the villain isn’t really a villain, as Jackson Storm is just a newer model. He’s self-centered and cocky, sure, but so was Lightning McQueen. He barely registers as a character and more as a symbol of newer, faster, more contemporary racers. If there is an antagonist in the movie it might actually be aging, which raises more questions about this Cars universe that I’ll unpack later. The plot formula will remind you of another franchise’s third entry, Rocky III. The hero is bested by a newer champ, seeks out a new trainer because their old mentor died, and there’s even a beach training montage. Then the movie goes from Rocky III to Creed in its final act, and I’m thinking why not remake Rocky IV instead? There’s already a robot butler in that one (it practically writes itself). Suffice to say, the generic formula of going back to basics and believing in one’s self, this time with fewer side characters, is even less interesting 11 years after the first film revved its limited story engine.
I was flabbergasted at just how lazy the storytelling was (there aren’t even that many car puns). It feels too much like a rehash without any memorable set pieces. There’s a segment at a demolition derby that has potential but it never really hits its stride and just relies on the initial particulars. The relationship between Lightning and the other cars is also rather weak. His new mentor Smokey is simply a surrogate Doc. The bulk of the film after the first act is the relationship between Lightning and Cruz Ramirez. It would have been stronger if there were more to her fledgling character. She’s consumed by self-doubt and gave up on her dream of being a racer, which should tip off every audience member where her arc is destined. She’s assertive, optimistic, and highly energetic, but her defining character obstacle is her self-doubt, which limits her. All she needs to do is gain confidence, which is a pretty straightforward solution in a sports film replete with training montages. I don’t know if she was told she wasn’t good enough because she wasn’t “made” to be a racer, or if it’s because she’s a girl, so her perhaps her ascension can be seen as an improbably empowering moment for lady cars everywhere.
The most fascinating aspect of the Cars universe has never been the characters or the stories but the world itself. In a land of sentient motor vehicles, how are they born? We see them age but where do the little cars come from? How do they make anything considering they have tires instead of opposable thumbs? Why do the cars have teeth? What is the point of designating gender? Did any adult car tell Ramirez that she was a girl car and girl cars aren’t supposed to do boy car things like racing? How old is Doc’s mentor considering Doc died of old age? Where do the dead cars go? Is there a junkyard burial ground? Do they get recycled into new cars? Speaking of mortality, this entire world has to be some post-apocalyptic hellscape, right? There’s got to be like a Forbidden Zone, and just along the other side of a steep ridge is mountain after mountain of human skulls. The self-driving cars became sentient, following the SkyNet model, and rose up against mankind. In the ensuring thousands of years after, the sentient cars have adopted our ways even though they clearly don’t match up to their circumstances. They have forgotten the world of humans but are still trying to remake our world as theirs. Do these cars do anything other than watch races? Is this pastime the hierarchy’s form of bread and circuses? What kind of day-to-day existence do they have? Considering every living being is a motor vehicle that runs on fossil fuels, are the sentient cars aware of climate change and the greenhouse effect? Are they hastening the planet’s demise? What if inside every car were the mummified remains of a human inhabitant? What if during Lightning’s big accident a human skeleton pops out of the windshield? That might lead to an existential crisis in the Cars world that would make them rethink their place in history.
Somebody out there has to like these movies. I don’t know whom Cars 3 is intended for. It doesn’t present enough excitement or humor for children, and it doesn’t present enough substance and characterization for adults. It retreads familiar ground with lesser characters for lesser rewards. I knew every step of where this journey was headed, and without effective humor, characters, and surprises, I was tilting my head against my chair and just waiting for this mess to end. The reason there are three Cars movies is merely the profits Disney reaps from the toy sales and merchandizing (they estimate making a billion dollars in toy sales alone per Cars movie). There’s no other reason to supply the world three entries in the Cars universe before even getting a second Incredibles. The time with these anemic characters is not worth the 100 minutes on screen. I never thought I would reappraise Cars 2 but at least that movie had some exciting and colorful racing sequences and tried telling a different, albeit not successful story. Even a badly executed spy caper starring Larry the Cable Guy had something to it. In contrast, Cars 3 just goes in circles and expects you to be grateful for the same trip.
Nate’s Grade: C-
I’ve written before that all I demand from the ever-ascendant and popular Fast and Furious franchise are its eye-popping action set pieces that teeter into madcap lunacy and impressive stunt work. A fiery meteor could crush all the characters, short of The Rock, and I wouldn’t shed a tear. Despite the super serious plaudits about the importance of family and loyalty and blah blah blah, I’m only here for the action spectacle that obliterates the laws of physics. I’ve said before there’s a fine line between stupid action and stupidly awesome action, and the Fast and Furious franchise has planted its flag like few others. Nobody today goes to the level of action spectacle that the Fast and Furious films achieve, bringing to life exciting action set pieces that feel fully plucked from the imagination of an exuberant child, and I don’t mean that at all disparagingly. These movies deliver like few others nowadays. We’re a long way from undercover cops and underground street racing. Vin Diesel and his team are essentially superheroes and their power involves doing amazing things with cars. I’m not a gearhead, I don’t care a lick about automobiles, but I’ve come to eagerly anticipate this franchise. It delivers ridiculous action on a ridiculous scale like few others. It’s earned my confidence. The Fate of the Furious, the eighth film, still delivers the high-octane goods even if it can’t quite keep up with the best of the franchise’s entries.
Dom (Diesel) has been preaching the virtues of family for years but now he’s turning his back on them. The notorious cyber terrorist Cipher (Charlize Theron) extorts Dom into helping her get her hands on nuclear codes. Dom’s crew (The Rock, Michelle Rodriguez, Ludacris, Tyrese Gibson, Nathalie Emmanuel) is wondering whether the man they know is still there. Government agent M. Nobody (Kurt Russell) reassembles the team to track down Dom, and they’re working with some unexpected help. Deckard Shaw (Jason Statham) has been released from maximum-security prison to thwart Cipher.
This is a franchise that soared to new heights of commercial success after it left behind its inhibitions of the imagination. It’s a franchise that lives or dies depending upon its giddy action set pieces. As I wrote about Furious 7: “The set pieces of the last few films have been stunners, and at its height, the franchise can make you feel giddy like a child watching the unreal unfold with such delight. There’s a tremendous and infectious high watching a well-executed action scene on such a large scale. With every movie our expectations are hungrier, and the franchise has found a way to satiate our action movie demands.” Fortunately for the eighth film, there are two standout action set pieces that are some of the stronger ones in the history of the franchise. The first is a car chase through New York (though filmed primarily in Cleveland) that builds and changes as it continues, an essential element for any great action sequence to stretch forward. At one point Cipher takes control of an armada of hackable, self-driving cars and pilots them as a collective weapon of mass destruction. They resemble a herd of runaway bulls. The destructive fleet leads to some impressive sights such as a bevy of cars plummeting from a parking garage. It’s a strong sequence that also finds room for the other characters to try and take down Dom, and it allows Dom the ability to outsmart them, adding the personal element. The other standout is the entire third act set around the Arctic Circle in Russia that climaxes with the dizzying heights of a nuclear sub chase and The Rock manually redirecting a speeding torpedo. There are multiple points of action and mini-goals that lead logically to the next, allowing escalation to mount. It’s dangerously over-the-top even for this franchise and it’s generally awesome and I loved it.
Eight movies in and Fast and Furious is really becoming an expansive ensemble series. The core team has been picking up players here and there with each additional movie, building its diverse definition of a diverse family. This is getting to be a crowded film and there’s just not enough room to go around for everyone to contribute meaningfully, which means it’s more likely from here on out, unless there is some judicial pruning, that characters stay religiously archetypal. Ludacris is the tech guru, but isn’t Emmanuel now also the tech guru, or does she only specialize in the tech subgroup of hacking? Why do I need Scott Eastwood (The Longest Ride) to join the gang as the awkward rookie trying to look cool? Isn’t that a milder version of what Tyrese Gibson offers as the comic relief bravado? Admittedly, I only started really paying attention to this franchise once it added The Rock, but I’m still unsure what Rodriguez brings to the dynamic beside history and romance. This general sense of the characters settling into their expected roles is exemplified in the in-car banter and one-liners. It appears often that they’re just talking to themselves for these lines. I could do with far less Tyrese reaction shots and Rodriguez one-liners. Theron is also generally wasted as the new villain du jour. She’s got the icy glare down and looks to be having fun, but she’s not given anything interesting to do. Without going into greater spoilers, I will say that Dom’s heel turn is wrapped up by the end of its 135-minute running time. No need to turn it into a multi-film arc.
Paul Walker’s character is understandably absent and I’d hate for them to bring him back after the very sweet and surprisingly poignant sendoff at the end of Furious 7, but he does still exist in this universe. I can agree with characters not wanting to get him involved in their dangerous missions across the globe, but at the end when they’re all dining as one big family, wouldn’t they also invite Dom’s sister, brother-in-law, and their children too? It gets into the Avengers territory where you start wondering why the Avengers haven’t assembled for the world-destroying threats from their respective solo film adventures.
The best post-Rock addition to the franchise has easily been Statham (Spy) and he proves it with his limited but highly entertaining time on screen. His appearances were a fun disruption in the previous film and he served as the most formidable villain. Reintegrating him onto the team was a smart move because he adds charisma, unpredictability, and a new dynamic that also seeds conflict. It was also smart because more Statham means including hand-to-hand combat action sequences that can involve a higher degree of stunt choreography, even if the former Transporter is starting to show his age. His scenes with The Rock were a natural highlight. However, adding Deckard onto the team to tackle a bigger baddie presents some weird questions. By the film’s end, everyone seems rather chummy with the man who straight up murdered their friend Han (Sung Kang). Sorry dude but it seems like everyone is rather relaxed with your murderer and big government having unlimited and regulation-free surveillance powers. My advice to future Fast and Furious installments, and there will be various, is to try and include as much Statham as possible (it’s essentially a repeat of The Rock Rule).
Where the movie has rougher terrain is in the area of drama and comedy. Look, nobody is going to confuse the Fast and the Furious films as great works of human drama. Director F. Gary Gray (The Italian Job, Straight Outta Compton) takes over for James Wan (The Conjuring) who took over for Justin Lin (Star Trek Beyond), and the discrepancy is noticeable. While having two excellent set pieces that place highly along the big board of the franchise, they’re not as well shot. Gray’s command of visuals is more than adequate but lacks the sizzle and vision of his predecessors. Wan was able to adopt the house style of the franchise and deliver a satisfying though lesser experience (Lin is king). Gray has a harder time with the material. The CGI approaches cartoon levels at points and Gray doesn’t better maintain tone. He doesn’t know when to pull back, which is unusually exemplified in the comedy asides. Everything that gets a laugh will be repeated until it becomes somewhat annoying, in particular a scene with Statham and a baby. It begins fun and cheeky, and Statham even uses the baby carriage as part of the fight choreography, but then it overstays its welcome like the other comedy bits. The dramatic moments are also far too overwrought, even for this franchise. It can be a bit much.
This is a franchise that revels in the ridiculous, that embraces being a big dumb action movie in the best way, delivering imaginative and often eye-popping action that deserves the full big screen treatment. Fate of the Furious falls somewhere in the middle of the franchise from a quality standpoint. It’s not as good as seven, which wasn’t as good as six, which wasn’t as good as five, but it’s still good enough. It’s definitely lesser and the new director doesn’t have the same natural feel for the preposterous as previous directors, and even after eight films I’m still mostly indifferent about the far majority of the characters on screen. As I’ve written before, though, thankfully the movie has the good sense to know what the audience is paying to see. It’s here for the fast cars, eye-popping stunts, and gratuitously framed camera angles highlighting women’s derrieres (I think there’s a contractual law that a close-up of booty shorts must make a grand entrance in the opening minutes of every film). Fate of the Furious is just enough of what I want from the franchise, though it’s getting harder to keep up with every new movie. Furious 9 and 10 are already in the works, and it’s only a matter of time before we get Fast and Furious in Space. It’s getting further and further removed from a sense of reality but as long as it keeps up with incrementally raised expectations and employs enough charming actors to compensate for Diesel’s enormous lack of charisma, then they’ll keep fans like me happy in the short run.
Nate’s Grade: B
The Fast and the Furious series has never been more popular, which is crazy to think about for a franchise entering is sixth sequel. Then in November 2013, it suffered its biggest shock. Actor Paul Walker was killed in an automobile accident. The already-filming seventh film was put on hold, pushed back a year for release, and retooled to accommodate the new tragic reality that one of the core members of a popular series going back to 2001 was no longer walking this Earth. With this context, it’s hard not to apply an added level of gravitas and dramatic weight to a series that previously skirted by on its fun and outrageous stunts. It’s weird to watch an actor’s final filmed moments, knowing this is the last time you’ll see that face, hear that voice, on screen again. I’m already dreading that painful realization in November that, with Mockingjay Part 2, this will be the last cinema will see of Phillip Seymour Hoffman. With tragedy hanging over it, Furious 7 does an admirable job of sticking to what it does best while serving as a fitting tribute and sendoff for Walker.
Coming on the heels of the events of Furious 6, Dom (Vin Diesel) and his crew have dispatched Owen Shaw (Luke Evans, collecting a paycheck for one scene lying in bed). Shaw has an older brother, Deckard (Jason Statham), who swears vengeance and comes hunting after Dom’s team, killing Han in Toyko (events previously seen in 2006’s Tokyo Drift). Then Shaw hobbles Agent Hobbes (The Rock), leaving him sidelined for much of the movie. Dom and Brian (Walker) place their families in safety and then set off to eliminate Deckard Shaw. Little did they know that the government has a similar interest. Mr. Nobody (Kurt Russell) promises to help Dom in his quest if Dom agrees to a secret mission to rescue a computer hacker (Game of Thrones’ Nathalie Emmanuel). This hacker, codenamed “Ramses” has developed a device that taps into every camera and microphone on the planet to track anyone anywhere. If Dom can secure the device, Mr. Nobody will use it to track and take down Deckard Shaw.
What elevated the Fast and Furious films into new heights of critical and commercial acclaim are the over-the-top action set pieces that don’t just defy the laws of physics, they obliterate them. There’s a fine line between stupid action and stupidly awesome action, and I think Michael Bay is still trying to finesse this understanding. Under the guidance of director Justin Lin, the franchise got bigger and ballsier and enjoyably insane. The action set pieces were huge and wild and well developed with organic complications and world-class stunt driving. The set pieces of the last few films have been stunners, and at its height, the franchise can make you feel giddy like a child watching the unreal unfold with such delight. There’s a tremendous and infectious high watching a well-executed action scene on such a large scale. With every movie our expectations are hungrier, and the franchise has found a way to satiate our action movie demands (for my money, Fast Five is the best). Furious 7 is the first Fast film not directed by Lin in ten years. James Wan, best known as the director of horror films Saw and The Conjuring, stepped into the director’s chair and he assimilates well into the “house style” of the franchise. However, I found myself missing Lin’s touches; he has a natural feel for choreographing action sequences with style and a clear eye for orientation. I found the editing for Furious 7 too choppy and several action sequences hampered by not getting a better sense of the wider surroundings and what was happening. Wan acquits himself well and keeps things running smoothly, though Furious 7 is a slight step down but still plenty entertaining.
Let’s talk about those giddy highs of Furious 7, because they are certainly there, though I wish there was more of them. Am I just getting greedy or building a tolerance? There are two standout moments that made me squeal. The first involved a set piece involving cars parachuting out of a transport plane. The next was a car crashing through the window of an Abu Dhabi skyscraper into another skyscraper and then into another skyscraper. Your brain tells you that there are no way any of these moments could truly happen in reality, and that in these circumstances it’s majority CGI, but if you’re like me, you just do not care because the sheer scale of awesome is too enjoyable to pass up. When you can pull off large-scale and imaginative action that manages to also maintain a strong sense of fun, then you’ve landed upon something special. The previous Fast films have been able to maintain that giddy high for a more sustained period of time, but I cannot deny that the same thrills and over-the-top pleasure is present with Furious 7.
A factor that added to my enjoyment is that Furious 7 never dawdles or dwells too often during its 137-minute running time, save for an extended resolution for Walker. This has never really been a franchise that has soared on the strength of its characterization. Seven movies in, I still don’t really care for any of the characters except for The Rock and that’s mostly because he’s The Rock. I was happy that the film was always active to distract me from how one-dimensional and boring most of these characters are, even the villains. Statham (The Expendables) is the best villain the franchise has had so far but even he seems to be stuck in a lesser gear, failing to capitalize on all his abilities with a car chase franchise. The Rock vs. Statham fight shatters all breakable furniture within near proximity, but you still suspect it should be better given the participants. Djimon Hounsou (Guardians of the Galaxy) is wasted as a number two villain who mostly just shouts orders for people to fire weapons, and martial arts superstar Tony Jaa is definitely wasted as a number three villain, an elevated henchman with too few opportunities to bust a move. MMA fighter Ronda Rousey appears briefly as an Abu Dhabi security chief. She performs well, pummeling Michelle Rodriguez while in evening wear; however, you quickly realize that Rousey is not an actor. She’s no Gina Carano (Fast and Furious 6), and speaking of, when is this woman going to finally be cast as a super hero? She’s practically a living Wonder Woman anyway and she has that “it” factor.
When the movie tries to be dramatic, it starts to stall, which is probably why it relies mostly on platitudes about family (“I don’t got friends, I got family,” Dom says in a weird retort). Jordanna Brewster is once again written to the side as the Concerned Wife, and the movie still doesn’t seem to know what to do with the re-emergence of Rodriguez’s Letty character. She got her memory back in the previous film, but now she’s having trouble readjusting, but before this can develop into an actual plot she disappears again and then the big action just kicks in. There’s enough of a team built up to provide diversity, with Ludacris and Tyrese Gibson serving as comic backup. There’s a sense of camaraderie that doesn’t feel artificial, and the small moments together are perfectly nice, but thankfully the movie has the good sense to know what the audience is paying to see. It’s here for the fast car, eye-popping stunts, and gratuitously framed camera angles highlighting women’s derrieres (there are a lot of thongs in this movie).
With the specter of Walker’s passing, the movie also presents a ghoulish game of looking for the tricks to work around his untimely absence. Reportedly the actor had filmed “most” of the movie and the remaining scenes, retooled after months of production being on hiatus, were completed by Walker’s brothers and some CGI sleight-of-hand. Perhaps I just have a more trained eye for spotting the cinematic wizardry, but by my judgment it sure didn’t feel like Walker was present for most of what was eventually used in the movie. I noticed a lot of wider shots and scenes where Walker is not facing the camera to speak or he’s at an odd angle. At no point did the movie become a strange uncanny valley experience of discomfort; movie productions have digitally attached faces before to other heads, notably for Oliver Reed in 2000’s Gladiator. If you’re not looking for it intently then it will all pass seamlessly. The film’s final ten minutes end up becoming an extended sendoff for the character of Brian, but really it’s the actors saying goodbye to their friend. It’s reverent and respectful and might be the most honestly emotional moment in the series history, which I know isn’t saying exactly much.
I mentioned Phillip Seymour Hoffman in my opening paragraph, and I don’t think anyone is going to confuse Walker for Hoffman in terms of acting talent, but that doesn’t negate or mitigate loss and grief. Personal confession: when I was writing for my college newspaper, I interviewed Walker over the phone for 2003’s Timeline, which if you haven’t seen it, and I’m assuming that’s the majority of readers, is a terrible movie. I’m not going to pretend I had any terrific insight into the man, but I found him to be a good guy with a level head who hadn’t let fame get the better of him. One could argue that the character of Brian was not significant enough in the context of a big, dumb action franchise to deserve this sort of emotional catharsis, but loss is felt, and Furious 7 has two missions: to entertain and to memorialize Walker. While the action as a whole is not up to the same caliber, it’s still plenty engaging and has enough of its characteristically dizzy thrills to be memorable and worth seeing on a large screen. On the second count, it lets Walker race off into the sunset in a way that feels appropriate, sincere, and without tipping over into complete melodrama. In that regard, this is the Fast and Furious movie that had the most to accomplish and it succeeds. It’s a near certainty that there will be a Fast and Furious 8, or a Furious 8, or a Fast 8, or whatever you call it, but for now it’s a chance to take a breath and add a dose of reflection for a series normally about the ridiculous.
Nate’s Grade: B
The biggest problem with Getaway was also likely its main selling point to gear heads: it’s one long 90-minute car chase. That may sound like a good thing to audiences that love them some high-speed thrills, but back up a moment because this scenario could be like getting sick from eating too much ice cream. Car chases are one of the greatest things in movies, but they are still dependent upon execution and overall context within the narrative. If you got nothing but relentless car chases, wouldn’t that start to get boring? And so it is with Getaway whose endless stream of car chases becomes one long, plodding, monotonous blur of tedium.
Brent Magna (Ethan Hawke) is a former racecar driver looking for a fresh start in Bulgaria. One day he comes home, sees the Christmas decorations shattered, and is told that his wife has been kidnapped. The mysterious The Voice (Jon Voight in constant close-up) threatens to kill Brent’s wife unless he plays along. As per his orders, Brent hops into an impressive stolen car, outfitted with cameras so The Voice can keep tabs. Brent is ordered to drive around the city wildly. At one point, The Kid (Selena Gomez) pulls a gun on him, claiming that the car belongs to her. She’s forced inside the car and the two unlikely partners are made to do the bidding of The Voice.
A major problem for the movie being stuck in neutral is that it’s directed by Courtney Solomon, the man who previously helmed notorious stinkers like Dungeons and Dragons and An American Haunting. The action sequences are so badly edited together that often it’s a collage of fast-paced imagery without feeling the impact. It’s hard to tell what’s going on much of the time, so you just give up. There is one extended uncut scene of high-speed driving, but ordinarily Getaway is replete with confusing quick-cuts. More so, Solomon has difficulty properly staging the action sequences to draw out tension, falling back on speedy resolutions and rote action tropes. He doesn’t have a strong feel to visually orchestrate action. I cannot recall one action sequence that grabbed my attention, partly because they just run together into a flavorless meringue. The most annoying feature is Solomon placing a series of cameras all over the interior and exterior of Brent’s car. The movie frequently cuts around these security camera POVs, which are visually unappealing and remind you of a lame reality TV competition show. I think the camera aspect was included to give a grander visceral aspect of the car chases, to put you in the middle of the action. However, isn’t that the point of a really good car chase anyway? Shouldn’t proper execution make me feel thrills rather than dumb camera angles glommed onto the car? I would argue that Getaway was sold on the notion that the added Webcams make it “found footage-y.”
The scenes that aren’t car chases end up becoming respites, something to strangely look forward to, and judging by the atrocious dialogue, this is not a positive. Another problem is that the car chases are all relatively the same. It’s alleys, it’s streets, sometimes ice rinks, but we’re in Bulgaria and the particulars of the car chases will not budge. There is nothing to distinguish Car Chase #13 from Car Chase #86, and so it all just becomes bland even with all the vehicular mayhem. The stunt work is certainly impressive but I just wish it had been put to far better use.
Then there’s the matter of the characters and plot, or rather, the complete lack of them. The movie doesn’t waste any time, putting Brent in his muscle car and speeding around by minute two. I can almost respect that expediency, but it comes at a severe cost. All we know is that the guy drives good, which will be self-evident in seconds, and that his lovely wife was kidnapped by bad people who want him to drive. That’s it. Naturally, having one dude in a car doesn’t lead to great moments of characterization, and so we’re given the plucky teenage misfit partner played by the absurdly miscast Gomez (Monte Carlo, Spring Breakers). This character is annoying from the start and played by an actress who cannot convincingly portray an edgy character. So she comes off as artificial and irritating. It’s uncertain at this point whether Gomez can step outside her doe-eyed Disney Channel branding, but this awful movie certainly isn’t helping. Being stuck in the car with these two terribly written characters is like being trapped on a long vacation with the relatives you hate.
The plot is about as simple as you could think, and then most of it fails to make much sense. The car belongs to The Kid. The bad guys want to hit up her dad’s bank, stealing funds about to be liquidated, and then this all requires Brent to drive like a maniac throughout Bulgaria, where the country apparently hasn’t invented helicopters yet to track speeding cars. The plot really is the thinnest tissue to get the movie from one loud car chase to the next, with some asides where Gomez can spit out a few adult profanities (no F-bombs kids, this is still PG-13 after all). The conclusion makes little sense (spoilers). In the end, the villainous Voice congratulates Brent and his sidekick for winning, vanquishing his greedy scheme. Okay, but the Mr. Voice goes one step further claiming that this was his plan all along, to push Brent to his full potential that he always knew he was capable of. What does this mean? This man staged a highly elaborate heist, hired men with fierce firepower, and installed all this fancy technology just to make Brent a more self-actualized individual? This ending clearly points to a conclusive lack of an ending. Once the car chases were over, the screenwriters looked at each other and said, “Now what?” and that was when they typed “The end.”
I’m struggling to come up with any verifiable positives I can say about Getaway. I suppose if you’re an auto aficionado, you’ll get a kick out of watching Brent’s car, a Shelby Super Snake Mustang (I readily admit to looking this up because I don’t care about cars), in action. Other than that, unless you have a strong desire to watch Voight’s mouth in extreme close-ups for 90 minutes (you know who you are), there really isn’t anything of value to be found in the wreck that is Getaway.
If you’re a car chase junkie, I think taking a shot with Getaway could be just the trick to sober you up. It’s one long 90-minute car chase but made so ineptly, at every angle of filmmaking, that it gets so monotonous and boring far too early. When you don’t have characters to keep your interest, a plot that makes sense, action sequences that offer some variety, editing that makes the action coherent, and direction that hamstrings the viewer to lousy dashboard-esque cameras, then it’s easy to fall asleep to the sounds of near-constant vehicle crunching. Getaway is a terrible action movie, a terrible movie in general, and proof positive that action fans should be careful what they wish for.
Nate’s Grade: D
I’ll confess something upfront: I have no interest in cars whatsoever. Never have. I don’t care. Seeing sexy cars with their gleaming and purring engines, well it does nothing for me. Hearing people talk about American vs. import or different engine capabilities, well it puts me to sleep. I get no thrill from cars alone. What I do get thrills from are when the cars are utilized in exciting action sequences that are well developed. I enjoy the role the cars play rather than the mechanics of the cars themselves. I’ve never watched a full Fast and Furious movie until the 2009 sequel, the fifth, which added notable franchise-lifter The Rock. I was won over by the wow-factor of director Justin Lin’s bombastic action. This is not a franchise for me from the gearhead content; however, I have become a fan thanks to the talents of Lin, the inclusion of my man crush The Rock, and some truly spectacular action set pieces. Fast and Furious 6, or Furious 6 as the onscreen title declares, is pretty much everything I thought it would be: dumb, loud, physics-free, and boasting remarkable action sequences, and it delivers.
It’s years after Dom (Vin Diesel) and Brian (Paul Walker) and their crew pulled off their epic heist in Rio. Hobbs (Dwayne “The Rock” Johnson) recruits Dom’s team for help nabbing a really bad guy with his own really bad team. Owen Shaw (Luke Evans) is a military-trained Brit who is hijacking advanced weapon parts to put together a super weapon that can knock out the power grid for a country. Dom’s ready to turn down the offer, content to live it up in paradise, when Hobbs shares a photo of Letty (Michelle Rodriguez), alive and well, and part of Shaw’s wrecking crew. Letty, Dom’s old squeeze, was thought dead, but it turns out she has amnesia, and Dom is determined to foil the bad guy and reclaim his girlfriend.
When I say Fast and the Furious 6 is a ridiculous movie in the extreme, I mean that as a compliment and a detriment. The movie never attempts to be anything outside of a loony, high-octane action thriller that gleefully ignores reality. Characters will fly off cars at great speeds, crashing into parked motor vehicles as “safe landings.” Brian will get himself thrown in the same prison as a notorious criminal, gather his needed intel, and escape all within a couple of days. The bad guy’s plan is also one of those only-in-the-movies super weapons. For goodness sake there’s even the hoariest of plot devices – amnesia. Really, Letty can’t remember anything. How prevalent is amnesia? Movies make it seem like it’s one Flintstones-style bump on the head away. Then there’s the massive amounts of wear and tear the heroes take on, their cars take on, and in general their superhuman status. But anyone expecting these films to adhere to a recognizable reality, especially after five movies, is adrift. Part of the appeal of the franchise is exactly its over-the-top lunacy with its action.
Having only really checked into the franchise one movie prior, I’m sure that there are plenty of moviegoers who are wrapped up in the ongoing saga of Dom and Brian and their motorin’ crew. I didn’t care about the characters; well, I generally liked most of them in an abstract way, but I was never that involved with them. I enjoyed The Rock’s character the most but that is also due to the innate magnetism of The Rock, someone Diesel could take some serious notes from. I say all this because there is a lot of time spent on the ongoing character relationships between Dom and his amnesiac love, Letty. He’s trying to pull her back, reminding her of the memories he thinks are tucked away, and they talk and drive and talk and I was bored. Perhaps if I had four movies worth of investment I would care more, but I don’t. Then again, we’re talking about a romance between Diesel and Rodriguez, both fine genetic specimens, but neither of them are what you would call gifted thespians outside of their defacto tough guy roles. The rest of Dom’s team are given throwaway bits, though even with those meager offerings Tyrese Gibson (Transformers) comes close to wearing out his welcome as a nagging naysayer. The multiracial cast is so large that it makes it hard for any of them to actually develop as characters. Plus, this movie provides a matching evil cast that doubles the number of characters.
Ignoring all the dumb plot points and repetitious messages, when it comes time to unleash some top-draw action, that’s when Lin earns his mettle. The man has guided the franchise through four sequels ever since 2006’s Tokyo Drift, which dovetails with the timeline of this film in a surprising way (did you know these were prequels and not sequels?). I can forgive all the lapses in logic and physics when I get action sequences so good I don’t want to blink. The last two extended action set pieces in Fast and Furious 6 are stunners, massive, constantly evolving, and ridiculous in the best ways possible. The first is a freeway chase involving a tank and along a coastal Spanish highway high above cliffs. The phrase “freeway chase involving a tank” should immediately put a smile to your face. There is such over-the-top vehicular carnage, all along a trepidatious path, and the pacing just keeps things fully amped. The finale involves a giant military aircraft and a seemingly endless runway (seriously, this thing has to be like 80 miles long). Dom and his team are driving cars inside the plane, out of it, zipping around, snagging wings, being carried off with the plane; it’s a glorious sequence that involves multiple points of action, different team members, and develops organically while still escalating the awesome. Lin handles these sequences like a pro. I’m tempted to say that the greatness of these concluding action set pieces is reason enough to see Fast and Furious 6 in the theater on the big screen.
I’ve never really understood the appeal of Diesel (Babylon A.D.). I felt like I was asleep when it was decided that he had become a major action star. I don’t get it. The man grumbles just about every line of dialogue into an almost indecipherable growl. He also has the habit of getting very quiet when he’s supposed to be serious, thus making it even harder to understand what the guy is saying. I know at this point Diesel is a package deal with the franchise, but I wouldn’t mind if the far more charismatic Johnson (Pain and Gain) were to slide over and replace him as lead. Rodriguez (Battle: Los Angeles) seems to have a habit of dying in franchises and being resurrected (see: TV’s Lost, Resident Evil 5). The rest of the franchise players do their parts well enough with what little they have. Evans (Immortals) makes for a suitable sneering if forgettable villain. My favorite new actor is Gina Carano (Haywire), not necessarily because she’s a great actress, though she’s better than you’d think for an MMA-fighter-turned-actor, but because this woman is a born movie star. She’s got screen presence, a fierce look, and the lady does her own stunts. She is an impressive beast of an action star and hopefully somebody will get her the right project to make her break out big time (Haywire wasn’t it, folks).
While I prefer Fast Five, a more fun flick where the team play their parts in a convoluted but entertaining heist, Fast and Furious 6 is a highly enjoyable summer movie with some top-class action sequences. This franchise is the epitome of the popcorn thriller, its vaunting heights of ridiculousness also its most laudable quality. Six movies in, I imagine most moviegoers know what they’re getting with this franchise and they must like it because every sequel seems to outperform the last at the box-office. The formula of fast cars, sexy ladies, and hyperactive action make for a surefire, turn-off-your-brain summer spectacle. Lin has a real knack for directing large-scale destruction that’s easy to follow and easy to get caught up in. He has a strong tentpole mentality and I imagine he will be tapped to helm some other big-budget action picture. Whatever it is, his involvement guarantees my interest. I don’t know about Fast and Furious 7, scheduled to come out speedily next summer. Lin is being replaced by James Wan of horror fame, notably Saw and Insidious (his DePalma-esque work on 2007’s Death Sentence was actually striking). Considering Lin made one feature before jumping into Furious mode, a small indie crime drama, I won’t discount Wan’s potential, but I’ll miss Lin all the same. In the end, the director could be just as interchangeable as any other part of this franchise as long as it sticks to its tested formula and delivers the goods when it comes to ridiculous action.
Nate’s Grade: B
Hit and Run was a labor of love for actor Dax Shephard (TV’s Parenthood). He wrote the script, co-directed the film, did plenty of his own car stunts, edited the film, and got his longtime girlfriend, the irascible Kristen Bell (Forgetting Sarah Marshall) to co-star as his love interest. I just wish the movie were better. It’s something of a strange mix, a road chase that zips along to loping comedic rhythms, spending as much time having characters engage in self-aware conversations about a variety of topics. It’s like a rom-com with car chases. Shepard and Bell are terrific together and have a natural comedic chemistry to them, an ease that befits both of their acting styles. Then there’s some of the more troubling comedic moments, like when the villainous Bradley Cooper (The Hangover) literally ties a leash around a black man and forces him to eat dog food. It’s one uncomfortable scene to watch. Then there are sudden bursts of violence and nudity, to go along with the bizarre conversational tangents. The plot is a loose collection of near-misses and digressive asides. It wants to be one of those 70s car chase comedies, something along the likes of a raunchier Smokey and the Bandit. This movie does keep you guessing, but it rarely adds up to anything worth all the trouble. Car enthusiasts will probably enjoy all the vehicular eye candy, and I’m happy to see Bell tackle a meatier role than she seems to be offered at this time, but I can’t work up more than a half-hearted shrug for Hit and Run. It looks good but just has nowhere to go.
Nate’s Grade: C+