Just as the trouble finding a title that works across all markets is a problem for those that run The Fast and the Furious franchise, it has become hard to recall a standout identity on screen. The Europeans have been given the simplified version of adding a number eight to the title. Such a high rollout is usually the reserve of horror movies. Has director F. Gary Gray been able to avoid slashing up the moneymaking car-based property?
First off, let’s spare a thought for the man replacing James Wan. With each movie, it becomes harder to justify the fanfare (buckets of cash aside). Also, he is the first man to tackle a plot that has to exclude Brian’s role entirely following Paul Walker’s death.
The main problem is how the series hasn’t felt gripping since Michelle Rodriguez reappeared from death in a post-credits scene. It took ten minutes into the latest instalment, with her character Letty and Vin Diesel’s Dom enjoying a honeymoon in Havana, to realise these answers had already been fully explored and a full adventure had taken place in London since.
That’s the problem with “new” Fast and Furious films: they are great for the two hours you watch them, but are instantly forgettable.
This one starts with a street race reminiscent of simpler times, when it was good old street races, a bit of undercover work, and not big set-pieces. It can’t last in a modern version of a film bearing the name (in any guise) connected to this franchise. It is now Bond on Wheels, and we all remember what happened to that series when the stunts became too far-fetched…
Because they are brains-out movies, no spoilers or hints will be dropped here. It’ll remove the ten seconds of reveal you may be interested in. The main premise is how Dom goes rogue and is recruited by cyber terrorist Cipher, played by Charlize Theron.
He’s hunted by Dwayne “The Rock” Johnson’s Luke Hobbs, himself now an outlaw from his own government after the initial mission went tits-up when Dom went rogue. He’s aided by Dom’s own team, and Jason Statham’s Deckard Shaw.
Yep, you read that right. Far from me to be a cynic, but the baddie gets a new backstory added where he was a decent captain in the SAS but his government sold him short – just like The Rock’s! Forget that he then became a ruthless murdering bad guy.
The thing is, there’s no need to care. Believability is suspended, so why not just enjoy the characters as they come? Also, it gives us Helen Mirren popping up as Shaw’s mum. In the process, we see a posh bird trying to sound like Peggy Mitchell from EastEnders.
A special mention should go to Kurt Russell. This was a screen-stealing edition of Mr Nobody and when you compare his turn in Guardian of the Galaxy Vol. 2 and this, you appreciate just how diverse his range is.
The same cannot be said of Nathalie Emmanuel as Ramsey. The Brit needs to drop the overaccentuated well-spoken words and be more natural in the role. With a screen awash with warm characters, she is the odd one out. The static, cold, sterile (pretty) face.
The plot has been criticised for being bloated, long, and dull. That’s a major knife in the back, it’s actually okay. The cliched parts aside, and the massive suspension of disbelief required (and that’s a great thing, otherwise we’d be robbed of Shaw’s comedic shoot-out toward the film’s end), it does reach the scope it aims for.
Okay, it is best served as a hangover film when you need a quiet Sunday afternoon, perhaps not what the studio want to hear, but with two sequels planned, their cash cow has some milk left in it.
There’s rumours Dwayne Johnson and Vin Diesel clashed during this movie’s production. From a marketing point-of-view, that is ironic because moving forward the franchise Vin started might have to become The Rock centric in order to survive.