Yet while Dom endures baptisms of fire, he is never genuinely alone. The tedium that sets in is a function of the blockbuster ethos in which everything must smash and ignite so that a solitary man can emerge phoenix-like to fight another franchise fight. Zoom, crash, repeat with squealing, burning and flaming tires - it’s all predictably absurd and self-mocking, and often a giggle when not a total yawn. There’s an odd Melville thing going on here: In a Bond-esque battle in Russia that typifies the franchise’s expanded reach, a submarine breaches like Moby-Dick. In New York, cars swan-dive off buildings or cut corners like rampaging dogs or, outfitted with Bond-like gizmos, harpoon a bucking ride. As the cars zig and the story line zags, these sequences grow baroque, defying reason and gravity, which have progressively come under siege in this franchise.
#Watch the fate of the furious online movie#
Punctuated by crashes and drums of doom, the movie moves to a dependable blockbuster beat, as a little exposition is followed by an action scene, and more exposition is followed by a bigger, noisier, nuttier action scene. Charlize Theron slinks in as a villainous hacker in silly blond dreads, jetting around while doing a lot of fast, furious typing. Kurt Russell shows up as a man in black with a newbie played by Scott Eastwood, whose resemblance to Big Daddy Clint adds intertextual genre frisson. Elsewhere, the franchise’s increasingly most valuable players, Dwayne Johnson and the bouncy Jason Statham, take care of business, going hard and funny. To that end, the filmmakers quickly isolate Dom from his crew (Tyrese Gibson, Ludacris, et al.) and give him a proxy heartbreak. Walker’s death even as it delivers the goods. Gary Gray (“ Straight Outta Compton”), this one opens in Havana, where the young local beauties swirling around Dom and Letty move and dress more or less like the other young beauties in the series, as if they were part of a continuing global house party, this time with Che Guevara and prettily peeling buildings.īoth the old cars and Dom’s unsteadiness set up a movie that clearly still needs to contend with Mr. They’re shed over time but before they are, the movie does what’s expected, which is cut loose attractive characters in different choreographed formations in assorted machines and locales. Walker’s death, as do the tears that fall in the story. The new movie’s title, “The Fate of the Furious,” seems like a nod to the lingering existential crisis created by Mr. It’s what has always bound Dom to his wife, Letty (Michelle Rodriguez), and the rest of his crew, most crucially Brian, the cop-turned-soul-partner played by Paul Walker, who died in an off-set car collision in 2013. It’s what connects this franchise to its fans, another kind of family, though one that pays to sit down at the table. It’s the idea that has held the franchise together - movie to movie, race to race, prayer to prayer - in an episodic soap about kith, kin and custom cars. Family is the most important word in these movies, the one that’s dropped with moist emotion and hushed Sunday-sermon reverence.
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