Release: Friday, April 14, 2017
Written by: Chris Morgan
Directed by: F. Gary Gray
Starring: Vin Diesel; Dwayne Johnson; Jason Statham; Michelle Rodriguez; Tyrese Gibson; Chris “Ludacris” Bridges; Scott Eastwood; Nathalie Emmanuel; Charlize Theron; Kurt Russell
Distributor: Universal Pictures
Sometimes I find myself asking how we have managed to get to the point where women and children are being threatened by cyber terrorists in a franchise built around car racing. I find myself wondering if things have gotten a little too out-of-hand. Of course, with each passing installment it has become increasingly clear this isn’t car porn anymore. Sadly, the narrative can no longer concern itself with the thawing of a once bitter rivalry between a street racer and an undercover cop either.
Out of necessity The Fast and the Furious have had to evolve, and though they have definitely become less furious they haven’t become any less fun to watch as each new chapter has placed them in some situation more ridiculously physics-defying than the last. And The Fate of the Furious is absolutely the most far-fetched demonstration of their newfound collective purpose yet. I suppose how we have arrived here isn’t that much of a mystery. They say formulaic writing can only get you so far, but it actually has netted Universal at least eight films and well over $5 billion.
The — let’s call it natural, even though that’s stretching the term — evolution of the family and Dom Toretto in particular finds us wading into legitimately dramatic territory in The Fate of the Furious. F. Gary Gray’s first time behind the wheel steers the story in an altogether more somber direction, pitting the star with a type of gasoline as a last name against his loyal compadres after being manipulated by cunning cyber terrorist Cipher, played with true menace by Charlize Theron.
For better and for worse, Chris Morgan’s screenplay remains as knowingly outrageous (and clunky) as those he has penned before. That this ragtag bunch of car enthusiasts could be the difference between World War III happening or not happening is pushing it, even for this franchise. Though Dom’s relatively unique trajectory is going to generate most of the post-viewing discussion, the specifics of the plot are as reliant as ever upon his crew’s mutually beneficial relationship with Kurt Russell‘s government agent Mr. Nobody. (And on that note, can someone please enlighten me as to why we needed Scott Eastwood’s Little Nobody? Also: how someone born of Eastwood blood can be so bad at acting.)
Fate succeeds in cementing its familial themes by way of finding redemption for characters hitherto on the periphery. In the wake of Dom’s theft of an EMP device at the behest of Cipher, Special Agent Hobbs (Dwayne Johnson) finds himself having to set aside past differences with Deckard Shaw (Jason Statham) as they work to take down a common enemy. After what happened to his brother, Deckard is eager to settle the score, even if that means working alongside a team who had once pooled their resources into eliminating him.
Gray’s film finds plenty of surprises along the way, like Dame Helen Mirren making a brief appearance as matriarch Magdalene Shaw, clad in leather jacket and brass knuckles (well, those are more or less implied). The character may be more plot device than person but Mirren’s quietly simmering intensity doesn’t allow her to be quite as dispensable as the script would like her to be. There’s also something vaguely amusing about seeing an actor of her stature in a film like this. (Ditto that the first time Kurt Russell appeared.)
With the integration of more Shaw’s into the narrative, you can think of Fate as one big, bullet-riddled family reunion. With nuclear submarines and Game of Thrones-sized enemies thrown in for good measure. Given the situation, you would think forgiveness would be a particularly high virtue to which these characters aspire, especially in a movie where the bonds of family are being “tested as never before.” It’s disappointing that that aspect is more convincingly framed through Hobbs’ and Deckard’s banter than it is through the evolution of Dom and Letty’s relationship.
While it’s heartwarming to see former enemies arrive at a place of mutual respect — after all, maturity is one of those tenets this multi-billion-dollar franchise has been built on — the lack of weight attached to the final, obligatorily dinner-table-set scene proves a major step backward for a film that otherwise was able to convince me that this was indeed the most serious situation our exonerated heroes have yet faced.
Moral of the Story: The Fate of the Furious offers more of the same. A lot more. Two-plus-hours more. In the absence of Paul Walker, it’s a testament to the comfort we have with the others that not much feels “different,” although certainly his absence is noted. Fate succeeds far more in elevating the action stakes than the emotional ones.
Running Time: 136 mins.
Quoted: “. . . it’s neon orange. The International Space Station will see it coming.”
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