You wouldn’t think that all the way back in 2001, when the first The Fast and The Furious installment made it’s debut that five sequels would follow (make it six, if you include next year’s Fast and The Furious 7).
But that’s what the movie industry is about nowadays: find a target audience and pump it full of movies that fans come running to.
In this case though, it’s no longer the rev-heads who love the sleek, speedy look of suited-up cars, with all the little extras, racing through tight city corners. That’s the old audience of The Fast and The Furious. Since the fourth film, Fast and Furious, the series has taken a dramatic turn from B-Grade car-racing romp films to daring global heists. And it’s this change that’s made the series a whole lot better.
Continuing off where Fast Five finished, Vin Diesel, Paul Walker and their band of merrymen have decided to give up the heist life and settle down. Of course, the nature of films dictates that they have to get back in the game somehow.
Enter: Dwayne Johnson, aka. The Rock. As DSS Luke Hobbs, Johnson needs the group to help bring to justice to former military assailant Owen Shaw (Luke Evans) and his crew after a string of heists across Europe.
He entices them by showing a picture of Letty (Michelle Rodriguez), Diesel’s former lover, who everyone though was dead, as well as promising them pardons to return home.
Unlike previous films, this one has a central core: family. The lengths that you’ll go help family members and what you’ll do to ensure you can bring them back from the darkness moments of their life.
The film though isn’t that dramatically directed or acted to make that point so clearly, but it tries to make it the main focus of the story. Yet it’s still all about the cars, the heists, the daring races and the impossible stunts.
Director Justin (who directed the last four films, but won’t direct number 7) has pulled out all stops to make his mark on his last venture in the series. It tries to be a crime opera of sorts: the dramatic scenes, the tense conversations and the looks of distrust between all the characters. But because the film can’t be taken seriously, it’s a joy to watch, and it’s bloody funny when it isn’t suppose to be.
Lin ensures that the ridiculous, but brilliantly crafted action sequences get wilder as every scene goes by: first a spacious carmageddon, involving a tank, through the freeways of Spain, where the high death toll isn’t even considered. Then another chase, at an army airbase, and you don’t have to imagine what’s going to happen there.
But the film’s cranked up direction ensures that it works. Unlike the rest of the drab series, (excluding Fast Five) this film is an enjoyable no brainer and if it’s what Fast 7 will bring, then continues the mayhem.