There are returning long-timers like Tyrese Gibson and Ludacris, and the always-delightful Kurt Russell now has Clint Eastwood's son Scott Eastwood as a handsome-goof sidekick, and one-time antagonist Jason Statham reappears with his own unexpected connections. That's not to mention new baddie Charlize Theron, a full-fledged Bond Villain with a global plot that oddly/topically/inevitably involves the Russians. There are great showcases for individual players - especially Statham, whose turn toward heroism is both an affront to Fast history (what about Han?) and the source of this movie's most delightful action set piece.
And there's a neat idea in the basic idea of turning Dom against his beloved family - although Dom's unsurprisingly noble motivations alleviate the essential drama of that betrayal. No one onscreen even seems to really consider that Dom has turned evil.
And anyone hoping for a reprise of Fast Five's Vin Diesel vs. Dwayne Johnson antagonism will have to stick to the gossip pages the film's two biggest stars barely appear onscreen together.ĭirector F. Gary Gray has the broadest comedic instincts of any Fast filmmaker. That serves him well with some characters - Hobbs' superstrength officially approaches Hulk levels in Fate, and he gets mileage from the bantering Rock-Statham bromance - but it leaves Theron and Diesel stranded in a bummer arc that's less dramatic than depressing. Related: Best of 2017: How Jason Statham and a baby stole Fate of the Furious There was always going to be a comedown after the true-life emotionality that powered Furious 7 – and Fate seems to be seed-planting toward the already-announced ninth and tenth films. In which Justin Lin and Chris Morgan turn a pile of spare parts into a 10-second car.
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The over-delivering starts early in the third Fast film when Lucas Black's Sean Boswell (the oldest-looking high school student in movie history) races Zachery Bryan's football jock Clay (the oldest brother from Home Improvement!) through a construction site. It's a playful site gag that's also a genuinely exciting car chase - an essential preview of the unique Arnold-Schwarzenegger-meets- Buster-Keaton mixture of muscle-car wild action and geometric precision that Lin brought to his films. Once the film moves to Japan, Tokyo Drift positively soaks in the atmosphere. Of all the Fast films, this is the one that feels closest in spirit to genuine car culture - and the best parts of the film are practically anthropological. (Drifting really does look cool.) All that atmosphere helps cover some of the film's problems - namely, the almost-complete lack of compelling personalities.
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