An enormously silly movie. The gang is still led by Vin Diesel’s Dom, but his allegiances are placed into question by the arrival on the scene of cyberterrorist Cipher (Charlize Theron). The script still throws around the word “family” the requisite number of times, and truly my heart is warmed by seeing Jason Statham properly brought into the fold — even if he’s still somewhat an anti-hero, he is at least now aligned with the forces of good, with a rather heavy-handed Hard Boiled hommage which nevertheless plays into Statham’s established heroic character trait of protecting kids. And yet… and yet, I’m not convinced. I’m not convinced by Dom’s actions, nor by Charlize’s villain — though, incidentally, possibly the most furious thing in the film is the fingers of her and Nathalie Emmanuel’s hacktivist Ramsey (introduced in the last film), as they (ridiculously) hack and counter-hack one another. I’m also not convinced by the fate of poor Elsa Pataky, sidelined since Michelle Rodriguez returned in the sixth film. Look, I still like everyone involved and I’ll still go see number nine (can I get an early vote in for some kind of K9 pun?) but this isn’t their finest work.
CREDITS Director F. Gary Gray; Writer Chris Morgan; Cinematographer Stephen F. Windon; Starring Vin Diesel, Dwayne Johnson, Jason Statham, Michelle Rodriguez, Kurt Russell, Charlize Theron; Length 136 minutes. Seen at Odeon Holloway, London, Friday 14 April 2017.
I was excited for this film after seeing the previous instalment, especially having watched the rest of the franchise ahead of that release (and blogged about it, of course), but the past couple of years have brought the sadness of star Paul Walker’s death and subsequent uncertainty about what might happen with the promised seventh film. Well, of course, they totted up the numbers and going ahead was probably never in doubt, but the filmmakers (including a new director) have also managed to sustain the action momentum well for the seventh instalment: all you need to know is that the baddie of the sixth film is being avenged by his brother (Jason Statham) and our team get help from some spooks (led by Kurt Russell). Certainly there are the occasional intrusions of low-angle shots on short-skirted women in glamorous exotic settings, and there remain stretches of (thankfully, not quite mawkish) sentimentality — a feature throughout the franchise. However, there’s genuine pathos in the scenes with Paul Walker near the end of the film, in ‘retirement’ with his family on the beach, and for the most part this film takes all those most hyperactive and ridiculous elements of the sixth film and amps them up (skydiving cars in the mountains! stunt car leaps between skyscrapers! the Rock working an office desk job!), such that there’s very little reprieve from relentless action-oriented silliness, so if this isn’t your thing, then (1) you are missing out on one of cinema’s true delights, and (2) maybe the Fast & Furious series isn’t for you. Still, it works for me and (box office figures suggest) much of the rest of the world’s cinema-going population, so no doubt we’ll be seeing an eighth soon enough. In the meantime, this is an excellent swansong for the always underrated (admittedly by me also) Paul Walker. Oh, and there’s also a bafflingly bonkers recurring reference to Belgian ale, as if the filmmakers, obliged to include Corona product placement, felt they also had to wink at us that there’s better beer out there… So cheers. I raise a glass of Orval to another Furious film.
NEW RELEASE FILM REVIEW Director James Wan | Writer Chris Morgan | Cinematographers Marc Spicer and Stephen F. Windon | Starring Vin Diesel, Paul Walker, Michelle Rodriguez, Jason Statham, Dwayne Johnson, Kurt Russell | Length 137 minutes || Seen at Cineworld Haymarket, London, Friday 3 April 2015
Like a lot of people, I’m guilty of throwing out disparaging comments about Michael Bay’s filmmaking style, based on his favoured genre, the special effects-laden science-fiction tentpole Summer blockbuster; I did it just the other day in a review of Jurassic Park. The thing is, though, he does have a distinctively meretricious style, which probably makes it perfectly suited for an action comedy heist film set in the permanent dayglo of Florida in the 1990s. I’ve seen quite a few films this year set in that pendulous part of the world — it’s a popular film setting after all — and all of them have gone out of their way to impress upon me what a strange and warped corner of society it is.
So we find ourselves in a world where obscene displays are the norm — whether of wealth or of bodies. Our protagonists are bodybuilders who meet through Sun Gym. Daniel Lugo (Mark Wahlberg) and Adrian Doorbal (Anthony Mackie) are personal trainers, the former very much the ringleader. Daniel fancies himself a smart self-made man, who has helped to build up the gym to be a flourishing business with little personal return to himself. Inspired by the self-help motivational speaking of Johnny Wu (another memorable small turn from the dependably maniacal Ken Jeong), he gets the idea to take what he deserves in that time-honoured fashioned of stealing it, and for this he enlists the help of born again Christian, the impressively built Paul (Dwayne Johnson). Their mark is Jewish-Colombian businessman Victor (Tony Shalhoub) and this, as is also the time-honoured fashion, is where things start to go awry.
It’s not just the men’s impressively-defined pectorals that are on display. There’s the wealth of Victor — with his flashy cars, boats and large airy mansion by the sea — and Frank, the porn baron who becomes the gang’s second victim. And of course there are the women, most of whom seem to be (or have been) strippers; the movies are starting to convince me this is the only profession down in Florida, and it’s wearying to be honest. Therefore, Rebel Wilson is refreshing as Robin, a nurse at an erectile dysfunction clinic who marries Adrian without being aware of his source of income. She’s only on screen for a few scenes, long enough though to convince us that when this film isn’t obsessing over pecs and breasts, penises are a matter of abiding interest. The only ones we see on screen are rubber (one of Victor’s sidelines is in sex toys), though they are much discussed — apparently Adrian has suffered some adverse effects from his heightened steroid usage — and we even get one teasingly brief shot of Daniel in his Calvin Kleins, a cute little nod to Wahlberg’s pre-acting days.
For aside from its plentiful action setpieces — chases and shootings — the film is also a comedy, and I cannot deny there are laughs. Mostly these are had at the expense of the three central protagonists, who get up to some very silly (and very morbid) stuff. It’s a difficult blend to pull off, but this much I think the film succeeds at, and reveals Dwayne “The Rock” Johnson to have a deft touch as the dimmest but most personable of the three, a man somewhat misguided by the power of Christ, but still hopeful for redemption; for me, his character is the strongest in the film and remains compulsively watchable. The difficulty is in finding these men funny while also needing to judge them for the horrific crimes they commit — the film seems to be in several minds as to whether they are murderous aggressors or victims (of class and circumstance) or heroes (low angle shots against the sky, heroic slow-motion striding into combat), and ends up trying to advocate rather uncomfortably for all three.
After all, the other thing on display is Michael Bay’s directorial style, and it’s not a style that feels comfortable being subservient to characters or a story. There’s not a scene that goes by where the action doesn’t move briefly into slow-motion, or feature some other eye-catching visual effect (a freeze-frame with witty text superimposed is another favourite). By now, he’s able to make it seem the most natural thing in the world — possibly thanks to having in part created the grammar of visual expression in modern blockbuster movies — but it’s still diverting, and doesn’t always mesh with the emotions on screen.
That all said, I wanted to like what feels like Michael Bay’s first recognisably human film, though the location and the story can at times make that difficult. It’s based on real events, as the film likes to constantly remind us, but as ever such claims must be taken advisedly (the Wikipedia entry details all the changes made to characters and storylines) and there’s not always a lot to grasp onto in terms of recognisable character motivation. It’s a look at a seedy underbelly of society filmed as if it’s the most glamorous thing in the world and if it’s not entirely hateful, that at least marks it as a small step for one of the titans of violently dehumanised spectacle.
PREVIEW SCREENING FILM REVIEW Director Michael Bay | Writers Christopher Markus and Stephen McFeely (based on articles by Pete Collins) | Cinematographer Ben Seresin | Starring Mark Wahlberg, Dwayne Johnson, Anthony Mackie, Tony Shalhoub, Rebel Wilson | Length 129 minutes || Seen at Cineworld O2 Greenwich, London, Sunday 25 August 2013
NB The eagle-eyed will note that I’ve decided to add half stars to my ratings scale. I will also be updating some past ratings to take this into account.
NEW RELEASE FILM REVIEW: Fast and Furious Week || Director Justin Lin | Writer Chris Morgan | Cinematographer Stephen F. Windon | Starring Vin Diesel, Paul Walker, Michelle Rodriguez, Dwayne Johnson, Tyrese Gibson, Sung Kang, Jordana Brewster | Length 130 minutes | Seen at Cineworld Shaftesbury Avenue, London, Monday 20 May 2013 || My Rating very good
Having now seen all five of the previous films in the space of a week, it’s hard to really be objective here. In some ways this sixth film in the series is less tightly structured and less single-minded (less good, in a word) than the one immediately preceding it, Fast Five (2011). And yet it can’t help now but be part of a richly-detailed world for those who’ve followed along, a world with its own skewed logic, its own laws of physics, and its own strangely touching code of honour. The film constantly slows down for moments of familial bonding that are at times brazenly sentimental, it mixes and matches settings, villains and languages in an almost arbitrary way, and it causes all kinds of (mostly bloodless) carnage in its wake, but it’s sort of sweet, and not a little bit thrilling too.
The fifth film set up the return from the dead of Michelle Rodriguez in its epilogue, and her character Letty here becomes the focus for Vin Diesel’s Dominic, her boyfriend and by now the emotional core of the franchise. There is of course a greater villain on the loose (Owen Shaw, played by Luke Evans) who has his own evil team, and they are on the hunt for some kind of superweapon, but though that motivates the reformation of Dom’s team and plenty of the action, it’s the relationship between Dom and Letty (and by extension, the team) that forms the film’s heart. There’s a strong familial ethos (Catholic, one presumes) that binds them, signified by the importance attached to Letty’s necklace with its silver cross, and this is even borne out by a prayer at the film’s close.
FILM REVIEW: Fast and Furious Week || Director Justin Lin | Writer Chris Morgan | Cinematographer Stephen F. Windon | Starring Vin Diesel, Paul Walker, Dwayne Johnson, Jordana Brewster, Tyrese Gibson, Sung Kang | Length 130 minutes | Seen at home (Blu-ray), Sunday 19 May 2013 || My Rating excellent
Of the five films in the Fast & Furious franchise so far, the fifth is certainly the best. That’s not to say it isn’t as loud and stupid as many of the others, and there are definitely caveats, but you have to look at films within the genres they inhabit. As a loud and stupid action film, it is triumphant.
There are probably several reasons for this, but for me the most successful aspect of the series is the comradely fellowship that the lead characters by now have with one another. There is more than one scene of various members of Dom (Vin Diesel)’s team hanging out, and though there are disagreements and sometimes fights, they are all ultimately respectful of one another. Probably the nicest example in that regard is when ex-cop Brian (Paul Walker) and his girlfriend, Dom’s sister Mia (Jordana Brewster), share some good news to this extended ‘family’.