Directed by:
Justin LinScreenplay:
Chris MorganCinematography:
Stephen F. WindonComposer:
Lucas VidalCast:
Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez, Luke Evans, Tyrese Gibson, Gina Carano, Sung Kang, Gal Gadot, Ludacris, Jordana Brewster (more)VOD (4)
Plots(1)
Since Dom (Diesel) and Brian's (Walker) Rio heist toppled a kingpin's empire and left their crew with $100 million, our heroes have scattered across the globe. But their inability to return home and living forever on the lam have left their lives incomplete. Meanwhile, Hobbs (Johnson) has been tracking an organization of lethally skilled mercenary drivers across 12 countries, whose mastermind (Evans) is aided by a ruthless second-in-command revealed to be the love Dom thought was dead, Letty (Rodriguez). The only way to stop the criminal outfit is to outmatch them at street level, so Hobbs asks Dom to assemble his elite team in London. Payment? Full pardons for all of them so they can return home and make their families whole again. (official distributor synopsis)
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Reviews (14)
Due to the trajectory of the franchise and its concept of a team of criminals as a family, placing the high-octane action in a melodramatic context was probably inevitable. Melodramatic conventions are the reason why the film ends on the second attempt, why it has problems with rhythm and why the characters conform to psychological formulas at the level of three-year-olds. The film’s family theme prevents it from getting out of first gear, as every big action scene is followed by blather about important values, which is only a substitute for a more sophisticated plot. The only one who manages to reflect the obvious melodrama is the main villain, who, of all the film’s characters, is the most capable of rational thought. In the context of a film driven by illogic and sentiment, he represents an anomaly that must be eliminated. ___ The film’s obvious objective and the approximate way of achieving it are introduced shortly after the nostalgic opening credits (which logically and primarily accentuate the “team” level of the previous films), and only after it is achieved does the dully straightforward narrative formula undergo a slight modification: Toretto’s crew comes up with a way to get Shaw. But Shaw is smarter and avoids capture; as he does so, several expensive cars explode and a few anonymous civilians die. So Toretto’s crew comes up with another plan, during the execution of which more expensive cars explode and more anonymous civilians die. Instead of the gradual development of motifs and well-thought-out provision of information, the cards are rashly laid out on the table and the crew rushes pell-mell toward their objective (not even the two small “female” story surprises, one cheap, the other stupid, manage to in any way alter the course of events). The film is even more narratively “disintegrated” than Fast Five, but it doesn’t allow us to watch it undisturbed in a relaxing “standby” mode – enjoyment of the attractions is disrupted by the frequent dialogue, which is always serious about everything. A crucial problem of the film consists in the action scenes themselves, as they are fragmented by numerous unnecessary cuts and peppered with obvious digital tricks (the only car chase in Jack Reacher is directed far more clearly than any given chase in this film). __ Whereas the women in the film are dangerous, treacherous, defenceless, recovering from amnesia or just there to look good, the men were assigned the roles of invaluable protectors, capable lovers and excellent drivers. Fast & Furious 6 is just one big guyish pose, a film that too obviously displays its confidence in itself and the values that it promotes: if you have enough money, physical strength or weapons (or, ideally, a combination thereof), you can afford to go up against practically anyone. But you mustn’t put your family in danger. The relativisation of the villain and protagonist roles by means of self-reflexively pointing out the similarities between the teams facing each other (and whose members will fight each other more or less according to how Roman pairs them off) is ultimately just another false gesture with which Lin tries to conceal the fact that this time he bet more on big muscles, empty slogans and bombastic rhetoric than this 130-minute genre flick can bear. I don’t deny that it’s still a pleasure, but it’s much more of the guilty variety after Fast Five, whose testosterone-fuelled bombast was still generally acceptable. 70%
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For me, this installment of the film series is roughly on the level of the oft-mocked second part: well made, but otherwise pretty bad. Thieves turn into secret agents, cars get hacked while driving with Bond-esque contraptions, Letty's resurrection is delivered like something out of the worst possible soap opera, the bad guy is as bad a character as the good guys... Plus the annoying pathos, not to mention the action scenes, which with all their car-to-car, car-to-plane, and plane-to-car jumps just crawl tongue-in-cheek to reality. Not much to see here.
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... and the bubble burst. NOS² testosterone³ in an absolutely unnecessarily over CGIed action scene which is more like gameplay footage than a regular movie. For Lin, this is a sad return to a never-ending series of routine movies that don’t know when to stop. However much number five was surprising (and deserved) winner of the action premier league, number six is on the brink of relegation to the second league of yawnably familiar rubbish.
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The sixth film was almost able to convince me that Luke Evans is the worst actor in the world if I didn't know him from his many great roles. But Fast & Furious is a genre unto itself, and can only raise the credit of certain actors. The likes of Gal Gadot got three films in the series as a patch for not getting noticed in Quantum of Solace, and over the years she's made it from debutante Miss to someone Disney pays homage to in Ralph Breaks the Internet. That's not bad at all.
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Chris Morgan and Justin Lin knew what certainty they had in their hands, so it's a good thing they didn't have any reason to repeat themselves this time either. While the dialogue, after the previous simplification, have now ended up being nothing but slogans, wisdom, and catchphrases, the pace surprisingly slowed down and contrary to expectations, there is no exaggerated rush for any attraction. On one hand, that's a good thing because Brian can function as the main character thanks to his prison interlude; on the other hand, there is unexpectedly little happening in the first half. Nevertheless, the Furious gang easily reaches above average. In fact, some of the sequences really get your with their audiovisual concept (the race between Dom and Letty full of hypnotic atmosphere and well-deserved nostalgia), and the final inferno takes your breath away completely. And no, I'm not going to bother discussing the length of the runway in a movie where testosterone and gasoline can overpower absolutely anything.
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