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In 1979, the James Bond franchise changed course after the success of Star Wars, putting plans for For Your Eyes Only on hold and sending their British secret agent into orbit instead. Now, Fast & Furious has delivered its own Moonraker, an over the top and chaotic pastiche of old franchise glories and callbacks that long surpasses its reception.
After starting life 20 years ago as a low-key counterfeit of Point Break, the series has evolved into a full-fledged action franchise to rival Bond or Mission: Impossible.
But his ninth installment, dubbed simply F9 in most territories, attempts to play blow for blow with Hollywood’s biggest blockbusters, incorporating complex origin stories, near-superhuman invulnerability, and death-defying sets that take Dominic over. Toretto (Vin Diesel) and his gang across the world and, somewhat inevitably, in space.
Now does the plot even matter? Suffice to say that this motley crew of street racers turned superheroes cross paths with Dom’s brother Jakob (John Cena), who has teamed up with an evil European billionaire (Thue Ersted Rasmussen) and a returning Charlize Theron. to steal a secret. cyberweapon and take over the world.
Presenting Jakob as the villain is a stroke of genius for the brand, allowing the saga to return to its enduring focus: family. F9 works best when he embraces this sibling rivalry, which he explores through a number of lengthy flashbacks, starring Vinnie Bennett and Finn Cole as the younger Toretto brothers, who come to blows after the their father died on the racetrack.
Apart from these moments, all is well with the team and returning director Justin Lin. Operating on their own with unlimited resources and a blind disregard for the laws of physics, they travel the world from one absurd play to another.
Lin also pledged to rehire all notable characters from the previous eight installments, with the notable exception of Dwayne Johnson, but including some who were previously considered dead. Hardcore fans may rejoice to finally see “Justice for Han,” but the move only further underscores the void left by the late Paul Walker, which the film knots in trying to explain.
The franchise has a proven track record of exonerating its villains as well, which date back to Dom in the first film, so audiences shouldn’t be surprised at how the events of F9 play out. But after so many laps, the action has become weightless and even the incessant roar of the engines cannot quell the endless bickering that passes for comradeship.
We’ve been promised at least two more sequels, both with Lin at the wheel, but Fast and Furious is clearly running on fumes and in desperate need of a pit stop, if not a complete overhaul.

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Gloriously ridiculous and stridently melodramatic, F9 is fueled by its own wacky energy, delivering comically awe-inspiring chase sequences and shameless fan service, all in the name of giving audiences a good uncomplicated time. Over the years, the Fast And Furious movies have grown from humble, car-centric action flicks to full-fledged oversized spy thrillers that could rival Mission: Impossible, without ever losing their sense of humor in course. And director Justin Lin, taking the reigns for the first time since 2013’s Fast & Furious 6, easily balances the terribly grim proclamations about family with the extravagant action sets, though this latest installment suffers from the inevitable diminishing returns inherent in when ‘a franchise is constantly trying. to surpass themselves.
After months of postponed event films, F9 should be a welcome sight for both viewers and exhibitors. Opening May 19 in South Korea and May 21 in China, Universal’s release will hit US theaters on June 25 and land in the UK a few weeks later. Dwayne Johnson and Jason Statham, who got their own spinoff film with Hobbs & Shaw in 2019, aren’t part of F9, but franchise regulars Vin Diesel and Michelle Rodriguez, among others, are joined by newcomer John Cena. , who plays the team’s last enemy. .

Dom (Diesel) and Letty (Rodriguez) attempt to lead a quiet life with their young son Little Brian as they are once again tasked with saving the world. Alongside team members Roman (Tyrese Gibson), Tej (Chris ‘Ludacris’ Bridges), and Ramsey (Nathalie Emmanuel), they must hunt down a dangerous weapons program known as Project Aries before it takes hold. falls into the wrong hands. But to Dom’s surprise, that means he’ll face off against Jakob (Cena), his estranged brother, an assassin working for infamous individuals.

Criticizing Fast And Furious images for their absurdity is probably insane: on the contrary, recent sequels have happily embraced the logic-defying antics of Dom and his crew. (In fact, F9 includes a self-mocking joke in which Roman marvels at the increasingly intimidating vehicles and ships they’ve fought, including this towering submarine in Fate of the Furious.) Lin, who co-wrote the script, has no intention of slowing things down now, laughing at the physics and common sense as the cars sway in the air like they’re Spider-Man or zoom in so fast a field strewn with landmines that the detonators cannot set off in time.

On a superficial level, these amplified showstoppers can be dazzling in their excess, even though CG effects are so prevalent now that the characters are little more than weightless digital avatars hopping around the frame. Nonetheless, Lin, cinematographer Stephen F. Windon, and the film’s three credited editors conspire to give the action sequences a run-of-the-mill run at the end of their rope. And there’s a fair bit of spirit on display too, especially in a few plays that make dizzying good use of high-powered magnets.

But the cheerful inventiveness of the action scenes only underscores how painful the drama is in comparison. One of the hallmarks of this series is its overly heavy emphasis on the importance of family — the characters can’t go more than 10 minutes without talking about how family means everything — and F9 expands the theme by featuring Jakob, who shares a past with Dom that will unfold in twisting and serious flashbacks that give us new perspectives on this stoic individual. Diesel, who also produces, makes sure Dom is seen in an almost mythical light, and the deliveries of the actor’s gritty line, while meant to seem touching and tired, tend to be unintentionally funny due to the gravity. strongly self-aware that he brings to his performance. Taking inspiration from Diesel, the actors tend to shine more than really.

Is it too far-fetched to hope that the Fast & Furious movies could go back to being about hot cars, burning rubber and the bonding that occurs somewhere around the intersection of cops and robbers? This is a series that began with a crew of not-so-bad crooks stealing shipments of DVD players; now, in Justin Lin’s F9, they’re literally shooting cars into space. Unless FasTen involves time travel, it’s hard to see how this franchise could top itself, and based on the often dull, always bloated results here, it seems foolish to try.

At their best, these later, save-the-world Fast flicks have allowed viewers to thrill to stunts even as they guffawed at their absurdity. But in F9’s would-be showstoppers, the thrills are mostly AWOL or the feats are simply too idiotic to embrace, even guiltily.
See, for instance, the sequence in which our heroes are being pursued across a minefield — they don’t get killed because they’re just too damned fast for exploding mines to injure them — toward a rickety rope bridge. One side of the bridge breaks when the first car has just started to cross it, but the car gets to the other side by following the same laws of physics that govern Coyote/Roadrunner cartoons. Then Vin Diesel’s Dom, seeing that a single suspension strand remains of what used to be a bridge, somehow jumps his car onto the post holding that strand, knocks it free from the ground, and Tarzans across the chasm to land on the other side. For a series with a main character (Ludacris’ Tej) who routinely urges his buddies to trust in math and physics because Numbers Don’t Lie, Fast really insults any viewer who feels the same way.

Fans may remember, in the last film, the EMP weapon that could knock out every bit of electronics in a high-security military facility while somehow not interfering with the video monitor sitting right next to it. This time around, our heroes head into a chase with arrays of electromagnets in their trunks that are powerful enough to pull heavy trucks across lanes of traffic, or even flip an armored truck the size of a train car end-over-end. But somehow, those magnets have no effect on the axles, gearshifts and made-in-the-’70s steel frames of the muscle cars carrying them.

This probably sounds like more fun than it is. As in Lin’s last feature, the disappointing Star Trek Beyond, the director/co-writer takes a quantity-over-quality approach, throwing more action, subplots and characters into the mix than any movie needs while still leaving one with the sense that something’s missing. The maximalist strategy makes even less sense considering the simple idea at this episode’s heart: Dom has a brother his pals don’t know about; a tragedy in their youth separated them; and now he’s a bad guy.

Why that brother, Jacob (John Cena), has to be a Bond-level villain is anybody’s guess. Producer-star Diesel’s heart is clearly with the themes of family that run through FF from episode one. The series’ soap-opera tendencies can lend themselves to fun crime-picture tropes, as when heroes turn against their loved ones for mysterious reasons, only to prove their loyalty in the end. But this new Dom/Jacob crisis is sufficient in itself, and does not require the introduction of a device that can take over every other electronic device on the planet.

Jacob, we’ll learn, was their father’s second-favorite son. Both boys worked on their dad’s racing crew, and we watch multiple flashbacks to the day he died, in a wreck seemingly caused by an aggressive competitor. That death cast a long shadow, the details of which needn’t be revealed here; but Jacob vanished not long afterward, and seems eventually to have turned his hurt feelings into a desire for world domination. (Though the film makes Cena a supervillain, it doesn’t let him upstage Diesel as Cena’s fellow ex-wrassler Dwayne Johnson, absent here, did in previous outings. The charm Cena showed in Blockers and Trainwreck does not blip on the radar here, lest it interfere with Diesel’s signature, leaden acting style.)

Jacob’s arrival as a threat to world peace requires Dom and new wife Letty (Michelle Rodriguez) to leave the farm they’ve retired to. They reunite with Tej, Roman (Tyrese Gibson) and the implausibly gifted hacker Ramsey (Nathalie Emmanuel) when a distress message from Mr. Nobody (Kurt Russell) leads to a wrecked plane containing half of a device that could be used to rule the world.

Soon Dom’s sister Mia (Jordana Brewster) has joined the action. On the evil side of the ledger, Jacob and his Eurotrash partner Otto (Thue Ersted Rasmussen) have captured the previous film’s criminal mastermind Cipher (Charlize Theron), putting her in a plexiglass-walled cell so she can taunt them with her superior intellect. Other players from earlier films will appear, some more meaningfully than others, but why ruin the surprise?