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Posts Tagged ‘Paul Walker’

It may well come as a surprise to you to learn this, but someone once took exception to my general principle of referring to the Dungeons & Dragons-loving actor known to his parents by the name of Mark Sinclair as ‘the great Vin Diesel’. Vin Diesel is simply not that great, ran the argument. He is a man of limited range. When he is not doing a Fast & Furious movie or playing Riddick, the chances of you wanting to see what he’s been up to are frankly quite small.

And I suppose there is a case to be answered here. But, as I’ve often said, the Fast & Furious movies are generally pretty entertaining ones that you have a good time watching, and this is surely reflected in the massive success of the last few episodes. And if you should doubt the importance of Vin Diesel to the whole undertaking, all you need to do is watch the only one he makes no appearance whatsoever in, John Singleton’s 2 Fast 2 Furious, from 2003.

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With Diesel off making xXx at the time (possibly not a great career move, Vin), the only major character from the original to make an appearance is Brian O’Conner, played as usual by Paul Walker. O’Conner has left his former career as an undercover cop and is now making a living as a professional street-racer in Miami. Unfortunately his past catches up with him when he is nabbed by the local cops.

Brian is presented with an ultimatum: go undercover working as a driver for local drugs kingpin Verone (Cole Hauser), or go to jail. He agrees, but only on the condition that he can have his old friend Roman (Tyrese Gibson), another boy racer, as his partner on the job. The authorities inevitably agree, and…

Well, here’s the thing. I’ve watched 2 Fast 2 Furious three times, I think, including twice in the last ten days or so. And yet if you asked me what the plot of the film is about, or indeed what happens in the course of the story, I would find myself somewhat stuck. There’s a bit where a car gets crushed by an oil tanker, and a ridiculous CGI bridge jumping stunt, and Eva Mendes in a succession of tight tops (just for a change), and a bit where a guy has a rat trying to burrow into his stomach, and a big chase at the end with some ejector seats and someone crashing a car into the top deck of a yacht. Ludacris, not yet the Q-like techno-wizard his character later becomes, shows up in a couple of frankly startling hairstyles. But it’s almost as if your brain rejects the plot of the movie and refuses to give it headspace.

Or it could be that the film is just a tottering stack of action and racing movie clichés assembled with an eye to slickness and general aestheticism. None of the characters are in any danger of achieving a second dimension, let alone a third. The whole thing is just vapid and feels pointless – there’s never any sense of anything being at stake, the film is just about floating a series of pretty pictures past the viewer.

The most recent time I watched the movie it was in a vain attempt to try and dig into it and find something worth discussing about it – some subtext, intentional or not, some comment on society or the time in which it was made. Somehow I ended up watching it with the director’s commentary switched on, and in the end I decided to go with that as it seemed likely to offer a few insights.

Hmmm. Well, John Singleton earned his place in the history books as the youngest person ever to get Oscar nominated as Best Director (at the age of 23, in case you were wondering). Sadly this seems to have been a classic case of someone peaking too soon, as his work since then has been increasingly undistinguished. The odd thing is that his is the opposite case to that of a successful genre director who tries his hand at making a serious statement and promptly comes a cropper: Singleton started off making socially-conscious dramas about urban life in America, which were generally fairly well-reviewed, only to later switch to making populist fodder which has generally stunk out the theatres it has (briefly) appeared in. However, the commentary on 2 Fast 2 Furious reveals that a startling amount of considered thought seems to have gone into the making of this very generic, rather dumb movie: doubly startling given that Singleton himself declares the film to be all about ‘fast cars and sexy girls’. (Said commentary also regularly features Singleton describing in some detail what’s happening on the screen. This confusion of the ‘director’s commentary’ and ‘audio described for the visually impaired’ functions is generally a sign of a film-maker struggling to find things to say.)

It’s true, the movie is filled with this sort of thing – in places it has an almost cartoony look to it, the result of a Japanese anime influence (it would be nice to think this was a conscious foreshadowing of Tokyo Drift, but I really, really doubt it) – but, as I said, there is nothing underpinning it, at least nothing that Singleton can persuade you to care about.

In fact all you really take away from watching this film is a deeper understanding of Tyrese Gibson’s place in the group dynamic of the other F&F films: here, he’s definitely playing the hero’s sidekick. But in the other movies, the guy who’s the hero here is actually the sidekick. Which means that Gibson has been stuck playing the sidekick’s sidekick for the past three films, which may explain the look of thinly-veiled desperation I’m sure I’ve spotted in his eyes now and then. Maybe he will be able to move up the pecking order a bit in future outings.

What else do I need to say? It’s the one genuinely bad Fast & Furious movie. It really has nothing to commend it beyond the fact it introduces Tej and Roman. It’s one for completists only. We’ve all already wasted too much time discussing it. Let’s move on.

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Ah, the sounds of an overworked big end and someone rapping in Spanish – can there be any more potent auditory tip-off to the fact that we’re back in the peculiar world of the Fast and the Furious franchise? The thing about these big film series is that they can be very different beasts – some of them maintain a pretty standard profile throughout their history, the earliest films bearing a strong family resemblance to the most recent instalments, while others go through remarkable shifts in tone and style as they years go by. The Fast and the Furious definitely falls into the latter camp.

Bearing this in mind, Justin Lin’s 2009 film Fast and Furious (which is technically The Fast and the Furious 4) is one of the key movies in the sequence. The original movie had done rather better than expected at the box office, but the first two sequels were severely hobbled by the fact that mountainous star the great Vin Diesel had jumped ship to attempt to forge his own career as an action star. Luckily for lovers of all things rapid and bad-tempered, by the late 2000s said career was foundering a bit, leading to the big man making a moderately triumphant return to what’s now surely his signature role.

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And so Fast and Furious basically ignores the second and third films entirely and picks up where the first one left off, with baldy boy racer/criminal mastermind Dom Toretto (Diesel) doing his thing in central America (well, the existence of Tokyo Drift is sort of acknowledged, but the implication is that this film is set some time before it). Toretto’s wilful defiance of the laws of the land, not to mention the laws of physics, result in the police being very keen to have a word with him, and in an attempt to spare the rest of his gang (principally, for our purposes, the divine and radiant Michelle Rodriguez), he cuts out on them.

Meanwhile, pretty-boy maverick FBI agent Brian O’Conner (Paul Walker) is in pursuit of some drug dealers in Los Angeles – especially a mystery man named Braga. Having infiltrated Toretto’s gang five years earlier, but opted to release Dom into the wild rather than arrest him, relations between O’Conner and the Toretto clan are rather strained. What could possibly bring them back together?

Well, someone blowing up the divine and radiant Michelle Rodriguez, of course. Somehow she gets herself tangled up in Braga’s operations and meets an entirely and definitely terminal sticky end (well, sort of). With O’Conner out to bring Braga to justice, and Toretto equally intent on exacting revenge, it’s inevitable that the two of them will eventually butt heads and resume their understated bromance…

My understanding is that what happens to the Fast and the Furious franchise in this film was the result of a considered decision on the part of suits at Universal, the studio responsible for the series. At this point in the late 2000s, Universal felt they were lacking a solid blockbuster franchise and decided to try and elevate the F&F series to this status. Prior to this, the series had always been, at best, mid-range action movies, so this was a bit of a gamble, but one which has obviously paid off magnificently.

So the prime objective of Fast and Furious 4 is to take the original characters and some how get them into a position facilitating the production of Fast and Furious 5,6, and 7 on a much bigger scale, and the thing about this film which is too easy to miss is just how easy writer Chris Morgan makes the plot- and character-management look. The start and end points for most of the characters were, I would imagine, pretty inflexible, but the job he does of getting from point A to point B, providing a reasonably satisfying story en route, is actually really impressive.

I’ve no idea how many films in advance this series is planned, but the first act of this one suggests either a startlingly long-term plan or deep inventiveness on the part of the screenwriter. What’s shown here on screen makes sense (at least as much as the rest of the movie, anyway), but – as astute viewers may have noted – these events have been revisited and revised on two separate occasions in subsequent films. And yet it all still hangs together, with no very obvious holes or gaps.

Of course, the shift in gears does result in a film which frequently doesn’t feel quite certain of what it wants to be: for every relatively low-key, character-based moment that feels grounded in reality, along comes a dumbass action sequence or ridiculous stunt. But not that ridiculous – or, perhaps, not quite ridiculous enough, compared to the monumental spectaculars laid on by later films. This movie is neither one thing nor the other, and it occasionally suffers for it.

I could go on to talk about the lamentably small amount of Michelle Rodriguez in this movie, or the forgettable nature of the villains, but even somewhat flawed F&F is still mightily entertaining stuff, with the requisite amounts of beautiful people and machinery doing alluring but transgressive things – one gets the sense these films aren’t really about the clash of good and evil, but perhaps beauty and ugliness, or possibly speed and slowness. Or perhaps there’s a subtext about something else entirely: Vin Diesel gets come on to like a rocket by Gal Gadot (making her series debut), but seems unmoved, preferring to grapple with his need for vengeance. Or Paul Walker. Or, come to that, an engine block.

In the end Fast and Furious is an atypically awkward and difficult to categorise instalment in this particular franchise – all the subsequent films have been effortlessly enjoyably, breezy popcorn fun, but you sense this one struggling to shake off its roots as a rather different kind of film entirely. In the end, though, the conversion from drama to pure blockbuster is a success, and clearly paved the way for the series which is such a fixture of blockbuster season now.

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…aaaaand relax. You can breathe again; it is blockbuster season once more, and first to roar out of the traps this year is – entirely fittingly – James Wan’s Fast & Furious 7, also known as Furious 7. Having a bewildering range of alternative semi-different titles is just one of the many proud traditions this franchise has built up in its rise from modest streetsy action drama to world-conquering action juggernaut. Who can begrudge these films a few little eccentricities, though, when they are such reliably good fun, such consistently well-made entertainment? I write myself as a relative latecomer to the phenomemon, turning up to Fast & Furious 5 fully intent on snidely mocking and finding myself utterly disarmed by its technical merit, grasp of storytelling virtues, and charismatic performances.

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This is not to say, of course, that these movies are entirely innocuous, for the spectre of chauvinistic exploitation is never very far away, especially when the camera is swooping up and down the lineaments of the latest installment’s race girl. Set against this, though, you have to bear in mind how equal-opportunities the mayhem in these films generally is: the women of the Fast & Furious gang, not to mention those of the opposition, are just as competent behind the wheel of a car, or in a fist-fight, as the guys. And, small thing though it may be, these films don’t engage in thoughtless out-and-out slaughter quite as casually as many others.

Of course, I had a special reason to anticipate the release of the new film, as it features one of my favourite actors, Jason Statham, in a proper meaty role as the villain of the piece. Proceedings get underway with Mr Statham (playing a character originally called Ian Shaw, which is a perfectly acceptable British name, but since rechristened Deckard Shaw, which just sounds ridiculous) visiting his little brother in the hospital where he has ended up following his clash with Dom Toretto (the great Vin Diesel) and the rest of the gang in the last film.

Mr Statham delivers a few warm sentiments before glowering at the nursing staff and growling ‘Take care of my brother.’ One suspects they may have a few difficulties with this, as it transpires that Mr Statham has virtually demolished the hospital in the process of getting in to visit his sibling. Nevertheless, off he races in pursuit of a roaring rampage of revenge.

Meanwhile the good guys are getting on with their lives, which to some extent have started to resemble the stuff of soap opera: Mia (Jordana Brewster) is pregnant again, but doesn’t want to tell Brian (Paul Walker), who is chafing under the requirements of domesticity. Letty (the divine and radiant Michelle Rodriguez) is still suffering from Movie Amnesia after dying in Fast & Furious 4 and coming back to life two films later, which is causing problems in her own relationship with Dom. All this may prove a little confusing to newcomers, but soon enough there is a manly clash between Jason Statham and the Rock which should serve to keep attentions from wandering.

Sure enough, Mr Statham blasts the Rock through a sixth-floor window, thus putting him in hospital for most of the film, and for an encore blows up Han (Sung Kang), one of Toretto’s Fast & Furious All-Stars. (Long-term franchise-watchers may recall that this is in fact the third film in which Han’s demise has featured, after both the last one and 2006’s Fast & Furious 3: keeping track of the byzantine timeline of the various installments is probably one of things which appeals to a certain type of fan.) He has a go at blowing up everyone else, too.

Soap opera concerns are put to one side as Diesel convenes the surviving All-Stars to hunt down Mr Statham and put an end to this vendetta. But how? Fortunately Kurt Russell turns up with an idea, thus launching everyone into a comfortingly preposterous plot which reads like a cross between Mission: Impossible and The A-Team. Why shouldn’t cars parachute willy-nilly out of the back of planes into Azerbaijani mountains? Why shouldn’t terrorists own armour-plated coaches carrying more armament than the average helicopter gunship? Why shouldn’t it be entirely reasonable for our heroes to crash a party in Dubai, intent on stealing a flash drive hidden inside a bulletproof sportscar kept in a bank vault on the hundredth floor of a skyscraper? (And if you don’t know how that one’s going to turn out, you’ve clearly never seen one of these films before, or indeed the trailer.)

In short, utter, berserk absurdity holds the reigns throughout: at one point, a clash between terrorists and a gang of ex-car thieves results in large areas of Los Angeles being razed to the ground, but the authorities seem remarkably uninclined to involve themselves in the ongoing confrontation. A multi-story car park collapses on Vin Diesel at one point, from which he is dragged with only a tiny nick on that mighty pate. Reality has been entirely suspended for the duration, which is surely what you go to a Fast & Furious film for.

Those of us wont to visit Jason Statham movies get most of the stuff we like to see, too, as this film finds the great man more purely in action-movie mode than many he has made recently. Not one of his scenes goes by where he is not putting the beat-down on somebody, driving very fast indeed, or doing a lot of shooting. (I was particularly impressed by the moment where he assembles his sniper rifle while running flat-out through dense woodland. I’m sure I would have dropped all the bits at least twice.) That said, this is Jason Statham as almost a talismanic, iconic figure: he isn’t required to do much more than just be Jason Statham and wreak havoc amongst the other characters. (What generally happens is that a full-scale action sequence is already in progress, at which point Mr Statham appears out of nowhere and starts making things even more chaotic.) It’s great to see the big man in such a mighty role and a big film, but it would have been even better had he had more of a chance to show some of his range as a performer.

Even so, he still gets better material than Tony Jaa (star of the insane Ong-Bak and Tom-Yum-Goong movie series from Thailand), who just gets a couple of secondary fight scenes with Paul Walker, or indeed Ronda Rousey, who only appears for a – no pun intended – rousing high-heeled, bare-knuckled fist-fight with Michelle Rodriguez. There are times when the film seems to have more well-known faces than it know what to do with: Kurt Russell makes an impression through sheer charisma, but Djimon Hounsou is rather underused, and Lucas Black’s cameo as the hero of Fast & Furious 3 may not mean much to a lot of people (he is not invited to join the All-Stars on this occasion).

In the circumstances, one might therefore question just why Sung Kang and Gal Gadot are so prominently credited at the top of the film, given neither of them actually appear in it, but the world of Fast & Furious is nothing if not sentimental. I have scoffed about this element of the films in the past, but now I wonder if the sense of affection and camaraderie between the characters isn’t a crucial part of mix. This film more than any other trades deeply on this, given that Paul Walker died while it was still in production, entailing a reputed $50 million visual effects bill to digitally recreate him for his outstanding scenes. (For what it’s worth, the substitution is mostly invisible, but I think I spotted at least one moment where Walker’s head looked suspiciously CGI, and he does spend a lot of the film fighting people in unusually dark rooms.) Fast & Furious movies are normally just an excuse for a barnstorming good time, but on this occasion things conclude with a clearly heartfelt and surprisingly moving coda paying tribute to Walker and his contribution to the series.

(Three more F&Fs have been announced, leading one to wonder who could possibly be tapped to fill Walker’s shoes as second lead behind Diesel. It’s obviously too much to hope that Jason Statham gets the nod – there are only so many big angry bald men one film can support, with Diesel, Statham, and Dwayne Johnson together it would look like a collection of cross babies on steroids – so one is compelled to wonder, who could possibly do this job? Who knows a lot about cars, can handle themselves in a fight, and is looking for a job right now? We can only hope the Fast & Furious catering van serves steak.)

I think the way that Fast & Furious 7 manages to pay proper tribute to its lost star without making the whole proceeding mawkish and uncomfortable is a considerable achievement, and I am curious to see how they address Walker’s absence in future installments (it would also be sad if Jordana Brewster lost her role in the series, but it’s hard to see how they can retain her without her screen husband’s presence). But on the whole I am glad there will be future films in this series: it may be ridiculous, but it still clearly has energy, inventiveness, and the goodwill of the audience. These movies were always just about simple entertainment value, and they retain that in spades. Keep ’em coming, guys, keep ’em coming.

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When it comes to black ironies in the realm of life-transcending-art, the recent, tragic death of Paul Walker takes some beating – I think you’d have to have Christopher Lambert being decapitated in a duel or Sigourney Weaver being killed by an extra-terrestrial parasite to even come close. Walker owed his celebrity almost entirely to an association with fast cars and dangerous driving; nevertheless his death still comes as a shock, not least because it feels so darkly apposite.

By a weird and rather bleak coincidence, the original The Fast and the Furious arrived as part of my DVD rental package only the other day. The idea that I’d end up writing about it as some kind of tribute to Walker had never crossed my mind, obviously; I might even have found the idea laughable, not least because Walker’s contribution always struck me as by far the most dispensable element of the Fast and Furious formula.

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Having said that – obviously, if you were going to pick one of the Fast and Furious films as a showcase for Walker’s talents, you’d pick number two, mainly because he’s indisputably the leading man in that one. But surely no-one would honestly claim that it’s the best of the series, quite possibly for that very same reason. The first film, on the other hand, also gives Walker a very healthy chunk of the action, and has some stuff going for it which more recent, louder instalments are entirely lacking in.

Even the studio heads at Universal will happily admit that the Fast and Furious franchise has been pretty comprehensively retooled in the course of the last few films. Rather than a cheerfully, brazenly absurd exercise in globetrotting and industrial-scale carnage, The Fast and the Furious is a rather more down-to-earth attempt at an action drama. Anyone only familiar with later films may find it a slightly discombobulating experience – to say nothing of the fact that one of the major plot twists won’t be remotely surprising.

Anyway. Paul Walker plays Brian, a young man, greatly into street racing, who spends all his time hanging around the cafe-garage run by one Dominic Toretto (the great Vin Diesel, of course), a major figure in the LA racing scene. Everyone assumes this is because Brian has a thing about Toretto’s sister Mia (Jordana Brewster), or simply wants to impress the big man. All his dreams must be coming true, then, as – despite never quite managing to beat Toretto in a race – he manages to earn a spot in Toretto’s crack team of mechanics and drivers, and get it on with his sister as well. (Toretto himself is usually off getting it on with Letty, played by Michelle Rodriguez, at this point. Ah, those were the days.)

However, Brian has a secret, and this is where I spoil the movie, by the way. He is actually an undercover cop, attempting to discover who has been hijacking trucks in the LA area using precision driving techniques and souped-up cars. Toretto and his crew are the prime suspects, hence the attempt to infiltrate the group. But as his investigation proceeds – or, rather, stalls – Brian finds himself questioning his own loyalty, increasingly finding himself coming to respect Toretto as a man, and feeling something rather deeper for his sister. Will he be able to bring them in if it turns out they are guilty?

Well, given they have made five sequels to date, with filming on another in progress (and several more after that planned, prior to Walker’s death at least), I’ll leave you to work out which way Brian eventually jumps. Grit and realism are relative things when it comes to this kind of movie, and while The Fast and the Furious still looks like a garish pop-video in places, with some slightly cartoony racing sequences, it has a hard, slightly sleazy edge, and is notably short on the laws-of-physics-punishing stunts and supernaturally long runways which were so prominent in its most recent progeny.

The biggest difference is that this isn’t ultimately some sort of absurd caper movie, but an attempt at an action drama based on the personalities of the characters involved. All right, so everyone drives flashy cars and dresses stylishly, but the meat of the story is still about Brian’s growing friendship with Toretto, his romance with Mia, and his reluctance to believe that they could be the people he’s been ordered to bring down. The street racing and long, loving shots of carburettors being disassembled are basically just trappings for one guy having a bit of an existential crisis. I had a bit of a go at Fast and Furious 6 for its fixation on family as a theme – but it was there in the first one, too, and rather more effectively realised.

Perhaps this is why the intrusion into the film of exactly the kind of stunts and action sequences one would expect feels like the main problem with it. There’s certainly something strange going on in a movie when the prime suspect for a crime turns out to be guilty and it feels like a weird plot twist. It’s disconcerting when Toretto and his team are revealed to be the hijackers after all – they’re so obviously capable of it that the revelation that they’re guilty is completely wrong-footing, every rule of genre plotting insists that it should turn out to be someone else. But no. It’s them, and as a result Brian looks a bit of a tool for protesting their innocence to his bosses.

When the stunts and chases began in earnest I got a real sense of the film starting to unravel – the action is competently done, but very generic, and as one chase succeeds another in quick succession with only the most peremptory plotting involved, the film’s previous emphasis on characterisation and atmosphere feels like it’s being squandered. Still, this was where the future for these films lay, for all that it’s the climax of this original one that’s the least involving part.

Vin Diesel is still top-billed, and you can kind of see why: he is the fulcrum of the plot and exerts his usual massive presence and charisma (playing D&D will grant that to a person). But Paul Walker gets more screen-time, and he’s the audience identification character – let’s face it, he’s the hero! This kind of film does not make the greatest demands of its performers, of course, but it still requires a sort of minimum level of competency from them. Walker comfortably exceeds that level – as does Diesel, of course – and if it’s fairly clear from this outing that he was never quite going to be top banana in this series, he certainly isn’t a disgrace to it, either.

No-one seems to be quite sure what’s going to happen to the Fast and Furious series following Walker’s death – there hasn’t been any word yet as to whether enough of the seventh film had been shot to make it viable as originally scripted – but I could easily understand the reluctance of the other members of the ensemble to continue blithely turning them out in Walker’s absence. These are the films Paul Walker will be remembered for, anyway: and there are much worse monuments to leave behind. They are genre movies with bags of energy and a touch of class – and this first one has an unexpected depth to it, as well.

[Even as I was writing this the Hollywood Reporter broke a story claiming Fast and Furious 7 may be delayed but won’t be scrapped. This is a movie I’m looking forward to, for reasons which regular readers will be well aware of, but it’s hard to see how not just the fact of Walker’s death but its nature will have a negative impact on what should have been purely a piece of popcorn fun.]

 

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In my experience, by the time a film series reaches its fifth instalment, one of two things is usually the case: either the dead horse has been flogged to the bone and the whole enterprise is on the verge of dying on its arse and/or going straight-to-video (for example: Rocky V, Hellraiser: Inferno), or it’s entrenched itself as part of the cinematic landscape and shows every sign of carrying on for the long haul (You Only Live Twice, Carry On Regardless). My preconceptions on this score were shaken this week, after viewing Justin Lin’s…

…um, er. If we’re going to be pedantic, I think there’s a little confusion over what this film is called. The film certificate lists the title as Fast Five. The poster, on the other hand, goes for the rather less concise Fast & Furious 5: Rio Heist. I don’t recall there being an actual title card of any kind, though I may still have been acclimatising to the film when it flashed by. In any case, it doesn’t really matter, as everyone knows what this film is all about: big growly men driving cars with big growly engines, very quickly and not in the best of moods.

Now I haven’t sat down and properly watched any of the previous four F&F films – not intentionally, I admit. I caught the second one on TV in Japan and was not much impressed, and saw the third one in Russian on Kyrgyz TV and was even less struck. However, great pains are taken to make this outing newbie-friendly while still appealing to the existing fanbase.

Big growly bald criminal mastermind-stroke-boy racer Dominic Toretto (the great Vin Diesel) starts the movie en route to the chokey but is almost at once busted out by ex-cop-turned sidekick Brian (Paul Walker) and his sister (Jordana Brewster). The three of them tootle off down to Brazil intent on keeping a low profile. Unfortunately Vin’s idea of a low profile includes driving cars off the side of a moving train and crashing them into the nearest river canyon, and very soon they are being chased by both Rio’s top drug dealer and the US government. Just to make things interesting the top lawman on their tail is slightly absurd colossus of justice Luke Hobbs, who’s played by the Rock, who’s played by Dwayne Johnson. Of course.

Vin and Walker decide to do one last big job before retiring for good, stealing the entire fortune of the aforementioned drug dealer. To do this they recruit a crack team of characters from previous films in the series. The F&F all-stars include Sung Kang from the previous two pictures, Tyrese Gibson and Ludacris, last seen in the first sequel, and Gal Gadot who was only in number four. Not that any of this matters: it’s just the set-up for some very silly and thoroughly enjoyable Ocean’s Eleven-inflected caper shenanigans. Or, if you prefer, another remake of The Italian Job where everyone’s been working out a lot. Everyone on the team gets at least one moment to shine, which is rather nice: as I said, every effort seems to have been made to produce a film that will appeal equally to long-term fans and complete newcomers to the series.

I confess I turned up to this movie prepared to scoff and mock it relentlessly, but – halfway through the first major stunt sequence – I found myself actually really enjoying it. It’s not deep, or thoughtful, and it has no pretensions whatsoever – but it is a tremendously well-assembled piece of machinery, for the most part. The script does fall down fairly badly in a couple of places, but usually redeems itself very quickly. Even when it’s absurd, it’s enjoyably so.

The money sequence in this movie comes when Vin Diesel and the Rock engage in a spot of fisticuffs. Wisely, the producers keep it back until the third act, although the two of them do face off earlier on – there’s even a bit where the two of them have a go at parkour, which looks as ridiculous as it sounds. Eventually, though, it can be delayed no longer, and the two big bald growly men face off.

‘Rrr hrrr rrr grr rrr rrr,’ says Vin, profoundly. ‘Uh gruh gur huh ruh gruh,’ the Rock ripostes, and then, rather in the manner of two continental plates colliding, battle commences. This isn’t quite the epochal moment it might have been eight or nine years ago – and the very fact both men are in this movie is an indication of how their careers haven’t gone quite as well as everyone was predicting – but I can’t imagine anyone will be too disappointed by the sight of the Rock trying to ram Diesel’s head through the bonnet of his car, or Diesel hurling the Rock bodily through a window. (Miraculously, neither winner nor loser emerges with more than the faintest of scrapes upon their face.)

(The Rock’s presence also brings with it the fringe benefit that in comparison Diesel looks like a marginally more nuanced performer than usual, but nobody in this movie is really here to do anything more than look good in shades and work a steering wheel in a photogenic fashion.)

With the battle of the big guys out of the way the film does seem to lose focus a little and the climax and resolution seem rather uninspired and over-prolonged, respectively: but not quite enough to seriously spoil the movie.

As I say, this is purely a popcorn movie, but it is a rather good one, and shows no signs of being the last gasp of a moribund franchise. The makers seem to agree, as the conclusion to this sets up yet another outing, which strongly hints at the return of – be still, my beating heart – Michelle Rodriguez. I will certainly be going back to see that one – but, on the strength of this movie, I think I would have done so no matter who was in it. A reliable and extremely competent piece of entertainment.

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