Review: "Fast and Furious 6"

Director: Justin Lin
Runtime: 130 minutes

In the decades since Jaws began the tradition of summer blockbusters, a hierarchy has evolved among the big-budget tentpole films that studios roll out between May and August. At the top, you have the likes of The Dark Knight, a dark and brooding epic that blends popcorn thrills with operatic grandeur. The next tier is the lighter, comedic action fare that still has some genuine smarts to it, like the first Iron Man and Pirates of the Caribbean films. And then there's the bottom tier of the (successful) summer blockbuster caste system: the excessive dumb fun. 

It's in that bottom tier where Fast and Furious 6, the latest entry in the mega-successful Fast and Furious franchise, gleefully resides. 2011's Fast Five was a surprise return to form (and the series' first film to garner positive critical consensus) for the series. Furious 6 (its official on-screen title, for some reason) builds on Five's momentum, and takes it to ridiculous new heights. To examine the film is to find a piece of cinematic junk food. But what awfully tasty and satisfying junk food it is.

Opening roughly a year after Fast Five, 6 reintroduces DEA agent Hobbs (Dwayne Johnson's biceps, and presumably the rest of him), along with his new partner Riley (Gina Carano). The pair are trying - and failing - to capture criminal mastermind Shaw (Luke Evans, all cheekbones and pervy facial hair). Shaw, an ex-black ops soldier, has been stealing technology to build a super weapon worth billions of dollars. Desperate, Hobbs turns to Dom Torretto (Vin Diesel), Brian O'Connor (Paul Walker), and their crew for help. His leverage? A photo of former companion Letty (Michelle Rodriguez), who presumably died in the events of 2009's Fast and Furious. 

Not content with simply illegal racing or heists, this new entry has decided to turn the insanity up to 11 by making its protagonists super spies. It's part of what allows Furious 6 to reach some thrilling and ludicrous heights. Don't worry, there's still plenty of driving, and even a race, but it's all dressed up as a lunkheaded espionage action thrill-ride. It's terrifically goofy, and terrifically entertaining. Returning director Justin Lin once again creates a constantly engaging experience out of the paper thin material. Whether you're laughing with the film, or at it, the entire piece has been designed to be nothing more than shameless entertainment. Lin and company succeed with flying colors.

I could talk about the overripe dialogue, or the ridiculous explanation for Letty's reappearance. I could mention my problems with a relatively unnecessary subplot that sends Brian undercover in a Los Angeles prison. But, with its mostly crisp action and outstanding sound work, Furious 6 moves along so briskly that the legitimate flaws in structure and execution barely have time to register. Even the nighttime driving scenes, with their murky blue/black color palettes, shine thanks to the nifty custom cars that Shaw and his crew use as they tear through the streets of London. The hand-to-hand combat is also pumped up, with several major fights resulting in some of the film's most satisfying action beats.

But, at its core, the franchise has always been about the cars. And, when it comes to gorgeous cars doing over-the-top stunt work, it's hard to top Furious 6. The film's last two set-pieces are among the most kinetic and hilariously overblown ever committed to film. One involves a tank, and the other a plane. And one climaxes with a stunt that is the biggest middle finger to physics imaginable. Both are worth the price of admission. It's simultaneously thrilling and laugh out loud funny. Diesel and Walker may be slumming it, but the supporting cast seems to be having a ball with their broad material (especially Tyrese Gibson). Johnson also continues to be a valuable new asset to the franchise, while Carano adds an extra layer of female punch (literally) by putting her mixed martial arts training to great use.

In a sense, Furious 6 is both the best Fast and Furious movie, as well as the best parody of the franchise. It is a film so willing to do anything to entertain, and it's all the more remarkable that Lin pulls it off. There's not an ounce of substance in the entire thing, but it hardly matters because, even at 130 minutes, it's such a riotously good time. Usually, when films try to function as simple dumb fun, they provide too much stupidity and not enough fun, rendering them a chore to sit through. With Fast and Furious 6, the racing-turned-racing-spy franchise has hit the absolute perfect balance. It's a bottom-tier blockbuster in the absolute best sense of the term.

Grade: B-
Sheer entertainment value: A

Review: "Haywire"

While The Hunger Games may have recently taken in over $150 million at the box office, the film is actually the second this year to feature a kick ass female protagonist. Steven Soderbergh's Haywire, despite underperforming, features this year's first breakout tough-as-nails heroine, in the form of Mallory Kane (Gina Carano, a mixed martial arts fighter). An ex-black ops assassin burned by her handlers via a set-up in Barcelona, Carano more than gives Katniss Everdeen a run for her money, even though Carano's acting is, when compared to Jennifer Lawrence, a bit lacking.

At its core, Haywire represents Steven Soderbergh at his leanest and most efficient. Though set in the present day, it carries the feel of a stripped down 1970s political action-thriller (minus most of the politics). For the most part, that's a good thing. Soderbergh and scribe Lem Dobbs' set ups are crisp and quick without feeling rushed, and the action is photographed and staged with a refreshing mix of clarity and lack of chaotic editing or shaky cameras. The aforementioned Barcelona incident, told largely only with images and David Holmes' excellent, varied score, demonstrates Haywire's best; there's a low key feeling to the action that slowly sucks you in and never goes overboard. This is a film that knows exactly what it wants to be, and there's never any hints that Dobbs' script is aiming for political commentary or deep characterization.

Unfortunately, the film is still hindered by what should be its greatest asset: Ms. Carano. Soderbergh has pulled out strong work from non-actors before (Sasha Grey in The Girlfriend Experience), but here he can't quite cover up Carano's inexperience. Carano has the look and presence to be the badass Mallory is supposed to be, and in the fight scenes she's great fun to watch. Yet every time she opens her mouth, the dialogue is delivered in tones that register somewhere between lightweight and robotic. Worse is that the rest of the ensemble are all pros, and don't have enough to work with to really go wrong, which only makes Carano's missteps stick out further. As nice as it is to have a tough, nicely paced action film centering on a female protagonist, there were moments when I wished that one of Carano's co-stars (mostly Michael Fassbender or Ewan McGregor) had been the hero instead.

It's a shame, because if Soderbergh had been able to pull a better performance, the film could have been the stripped-down, stylistically tame cousin of Joe Wright's Hanna. That film featured a few bumps in the screenplay, but the strong work from the cast (namely Saoirse Ronan's fiercely committed turn), along with the direction and excellent technicals elevated it far above its pedestrian origins on the page. Haywire doesn't have that, which makes its stark simplicity less satisfying than it ought to be. I have to give major props to Soderbergh and the technical team for creating such a fun, taut film, but ultimately Carano's stiff performance is too big a factor in the film's success, and she's really the only thing holding it back.

Grade: B-