Rating [ PG-13 ]
Director: Justin Lin
Written By: Chris Morgan
Cast: Dwayne Johnson, Gina Carano, Jordana Brewster, Luke Evans, Michelle Rodriguez, Paul Walker, Tyrese Gibson, Vin Diesel
Run Time : 130 Min.
Synopsis: The post-credits scene of Fast Five shows Hobbs (Dwayne Johnson) receiving a file about the hijack of a military convoy in Berlin, featuring a photo of Letty Ortiz (Michelle Rodriguez), Dom’s presumed-deceased girlfriend, implying that she survived the events of Fast & Furious, paving the way for her return for the next installment which will see the rest of the cast return as well.
Company CreditsProduction Co: Universal Pictures, Etalon film, Original Film
Official Sites: Official Facebook | Official site
Your auto insurance policy probably has clauses specifying whether you are covered for damage from missiles, falling objects, riots, civil war, earthquakes, hail, radioactive contamination, discharge of a nuclear weapon. But it’s time once again to check that it also addresses whether you are insured against accidentally driving onto the set of a Fast & Furious movie.
If you blundered into the shooting of Fast & Furious 6, for instance, you are almost surely walking now: If the flip-your-car-over speedsters didn’t wreck your vehicle, the giant tank surely did.
Most of the familiar faces are back for this latest bacchanalia of reckless driving, including Vin Diesel as Dominic Toretto. Toretto is relaxing in fair-weather retirement, living off the big score of the previous movie in the franchise, when he is called back into service, as it were, by Luke Hobbs, the federal agent who both pursues and admires him and his band of renegades.
Hobbs is again played by Dwayne Johnson and his biceps, which get enough camera time that you expect the closing credits to include two arm wranglers, one for each. Johnson has seemingly been in every movie released in the last two years and has a reality television show, The Hero, coming on TNT. But he knows how to deploy his half-dozen expressions – the sly grin, the single-eyebrow arch – and is still a welcome sight, where other actors might by this point be overexposed.
He also doesn’t hijack this movie the way his character did in the recent G.I. Joe: Retaliation. F&F 6 is still primarily about Toretto and his buddies. It is no spoiler to say that Michelle Rodriguez, seemingly killed off in an earlier film, returns as Letty Ortiz (she’s in the opening credits), Toretto’s tough-as-nails love interest. The gimmick here is that she’s now working for the opposition, mercenaries led by Owen Shaw (Luke Evans). Oh, and she has amnesia and doesn’t remember Toretto.
That provides just enough plot to propel the movie from car chase to car chase. The real question here is whether Justin Lin, the director of this film and three of its predecessors, can top himself. The climactic sequence of his Fast Five involved a preposterous scene in which race cars towed a giant bank vault through the streets at high speed.
Here Lin offers two tricks. The bad guys have flip cars, sleek machines whose armor-plated front ends are designed so that when they strike another vehicle, it goes spinning through the air. And in a later chase, Shaw and friends pull out a formidable tank that turns any vehicle it encounters into squished scrap metal.
These flashy smashes and a climactic sequence, in which the good guys try to prevent Shaw from taking off in an airliner by tethering their cars to it, make the movie a satisfying thrill ride, at least on a par with the earlier installments. A nice twist near the end is well disguised, and a coda hints at what’s to come in Part 7.
“Let’s go for a little ride,” teases Vin Diesel as Dom Toretto at the start of “Fast & Furious 6,” an amusingly mild suggestion that’s also the only moment of understatement in two dizzyingly high-octane hours.
In the first five minutes alone, director Justin Lin speeds us from the Canary Islands to Moscow to London, while also summarizing the five “F&F” films that came before.
The recap is fun but hardly necessary. Every movie in this franchise is almost identical, except for how (nearly) each one is better than the last.
That’s true this time, too. Somehow Lin just keeps topping himself, with bigger fights, badder villains, bolder chases. And while Diesel was born to make these movies, his pit crew has grown into a satisfyingly connected team.
“Family” is the word Dom uses, as often as possible. The communal spirit is what gives the “F&F” series its unexpected heart. This chapter is all about a family reunion.
Dom’s long-ago love, Letty (Michelle Rodriguez), was killed in the fourth film. But “Fast Five” revealed her to be alive, and now we learn that she’s working for another team, led by the devilish Shaw (Luke Evans). He is on the verge of building some sort of technological warfare, and Special Agent Hobbs (Dwayne “The Rock” Johnson) needs Dom’s help to stop Shaw.Vin Diesel is back in gear as Dom in ‘Fast & Furious 6.’
Soon Dom, his best friend Brian (Paul Walker), and their crew (including Ludacris, Tyrese Gibson, Gina Carano and Sung Kang) are in London staking out Shaw. They’re ready to take him down, but all Dom really wants is to see Letty again. Unfortunately, she doesn’t seem to have any idea who he is.
It’s hard work making a formula feel fresh, so most popcorn directors rely on a bloated budget and brainless action. But Lin understands this track inside and out, backwards and forwards — four directions out of countless others in which he spins us.
Complaints? Well, some members of the supporting cast are better than others. Rodriguez and Evans are particularly strong; Carano and Jordana Brewster, as Dom’s sister, are especially stiff. There are at least two more endings than we really need, and Dom’s solemn sentimentality is as silly as it is endearing.
The plot, though serviceable and boosted by humor, remains an excuse on which to hang breathtaking chases, meticulously choreographed hand-to-hand combat and the occasional explosion.
With all this outsized action, the filmmakers deserve praise for rejecting 3-D, so often used as a cynical bottom-line booster. But then Lin and Diesel, who also produced, aren’t just looking to grab our cash. They actually want us to have a great time.
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“Fast & Furious 6,” — which surely maxed out Universal’s tank-top budget for the year, and sustains its joyful, unpretentious ridiculousness so perfectly that I secretly hoped the “6” meant “hours long,” — ends with a disclaimer, the sort of small-type legalese that typically arrives at the tail end of the closing credits. Except here it’s at the immediate end of the story, like a Viagra warning/promise of a potential nine-hour, uh, adrenaline rush.
To paraphrase: On the way out of this theater, should you get the urge to drive your tank into oncoming traffic across a towering bridge in Spain, or feel the need to race a Dodge Charger down a runway and bring down a military transport with harpoons, Universal Pictures will not be held responsible.
Indeed, that disclaimer may even be wise. Because regardless of the unbelievability of what transpires, the sixth installment of this fun car-thieves-with-honor series — the fourth directed by the craftman-like Justin Lin, quick becoming the John Ford of downshifting — has a genuinely warm, infectious sense of playfulness, an anything-goes, real-world tangibility that other grim-faced, CGI-centric summer franchises long ago gave up on. It’s as if it’s 1987 again, and the filmmakers ran into Universal shouting the plot with the frenzied rush of a 6-year-old: “And then the tank crushes the cars, and then it flips, and then the military guy says ‘we don’t negotiate with terrorists,’ and then The Rock says ‘Wait, yes we do,’ then a big airplane explodes ...”
Without a doubt, oodles of digital effects have been mixed in there somewhere — when a character leaps across three lanes of traffic, catches a racing compatriot and lands on a moving car, the spell is broken momentarily. And the storytelling is never as inspired or clear-minded as the film’s action-movie spirit. But as a welcome reminder of how to keep a silly franchise fresh and lighthearted — without succumbing to the heavy grit and intensity that Hollywood too often confuses with relevance — it’s a surprising, unlikely delight.
Even the villain — an international man of mystery (played by Luke Evans) with a pencil-thin, silent-movie mustache and a powerful weapon component that can bring down a nation, so we’re told — seems happily shocked. How remarkable that, in a decade or so, a team of streetwise car thieves led by Vin Diesel’s Dom has gone from stealing DVD players in East LA to, well, wrestling with terrorists on the tarmac of a European runway, the fate of the world in the balance! In fact, to be more specific: Since the first film, Diesel’s road racers have become expert drivers, crime fighters and counter-terrorism experts, adept at aerodynamics, military acumen and computer science. Or as Chris “Ludacris” Bridges’ character explains, after a few keystrokes on some random laptop: “I just jammed every signal up and down the spectrum!”
Of course you did. In the span of six pictures, with increasing fluidity, members of the team — they don’t really have a name, which is a branding blind spot — have become sophisticated citizens of the world, a kind of Pep Boys-Julian Assange collective, their (victimless) robberies and flouting of U.S. traffic laws forcing them into exile. The opening of the new film finds us in the Canary Islands, where Dom — and now yearning for home. In the previous installment, he stole $100 million in Brazilian drug money — the spectacularly destructive getaway remains the series’ high point — but now he wants to turn in that bling for an old-fashioned barbecue in his Los Angeles neighborhood.
Enter federal agent Hobbs (played by Dwayne “The Rock” Johnson), who wanted Dom and his multi-ethnic band of thieves — including the less-excitingly named Brian, played by Paul Walker, a less exciting, discount-Paul Newman — taken down in “Fast Five.” Now he sees a need for Dom and his racers: There’s that British terrorist, and he improbably leads his own racers, so why turn to the CIA or MI5 when you can ask those goofballs who know how to drive really fast?
“You need wolves to catch wolves,” Hobbs explains.
If they succeed: Full exoneration and a return to home — no more lazy Sundays with nude models in exile.
Actually, if “Fast 6” — as the title card at the opening refers to it — shows any new ambitions, it’s by enthusiastically embracing its inner-Telemundo, its heated, knotty “Game of Thrones” melodrama: Letty (Michelle Rodriguez) — whom everyone thought was blown up in the fourth film, a victim of the gang’s attempt to bring down a Mexican cartel — is alive and working for the British terrorist. And she has amnesia! Similarly, Han (Sung Kang), who supposedly died in the third film, remains in the team and has fallen in love with another racer, Gisele (Gal Gadot), a former Mossad agent, who as far as I could tell has no big secrets.
Though I suppose the film is also at its creakiest in these moments — there’s a longish middle section where in which you wonder where Lin left all the gas pedals — that human stuff rarely feels dull. Even bits of class resentment come and go with breeziness; a bit featuring Johnson/the Rock, Ludacris and a sniffy Brit (he mistakes them for “kitchen help”) is straight out of a Cheech and Chong movie, but I liked Cheech and Chong movies.
So maybe none of this is convincing. But the cast seems to sincerely like each one another, and the coziness goes a long way until the next action scene. Which are worth the wait, of course: Lin, who knows how to stage a chase as well as the next Bond director, sprinkles them around generously, topping a tank fantasy with an airplane heist and punctuating a “Road Warrior”-like pursuit through London with a car flipping end over end through a glass office complex. By this point in the series, it goes without saying that the action is spectacular, but less obviously perhaps is that Lin understands the visceral possibilities of space — the closeness of tires, the wedge of room that allows a car to escape a tight bind. He’s has said in interviews that before he shoots such sequences, he stages every chase with toy cars and imagines the possibilities. And indeed, it’s a testament to this freewheeling big-budget plaything that his 6-year-old self is still very much evident.
And how that 6-year-old could work in that harpoon.