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 (13)
It is becoming a purely family affair. The chemistry among the cast is fantastic, the lines, the gags, and most of the dialogues are great. This is not a precisely rehearsed acting performance, this is the natural chemistry between people who have been working together for several years and create an incredibly likeable team. It can be seen, it can be felt. The improvisation, not artificiality, brought me the greatest joy. At the same time, it is good to say that Fast and Furious is slowly moving towards the style of The Expendables, because the cast is increasingly expanding not only in the main roles but also in the supporting roles (this time with Gina Carano). We already know that Jason Statham will be in the next part, so there will certainly be no lack of interesting faces. Despite all of this, the sixth part is not better than the fifth, not by a long shot. It may be "smoother," more grandiose, and with a higher budget, but one thing is megalomania (a tank on a highway) and another thing is scenes that totally lack logic and make the viewer feel like an idiot. The tank's destruction, Vin Diesel as Superman, a 10-kilometer-long runway, these are things that cannot be tolerated. The excellent fight between Carano and Michelle Rodriguez in the subway is good, especially the now legendary staircase-falling scene (captivating work in terms of stunts, camera work, editing, and emotions), a few well-destroyed cars, and excellent sound as a whole. However, the unpleasant "sci-fi" elements that the film is overloaded with are disappointing. It was difficult to go further after the fifth film, but it certainly did not have to go further in terms of action. It should have gone in a slightly different direction.
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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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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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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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The mechanical, hastily put together screenplay of Fast & Furious 6 is closer to Die Hard 5 than to Fast & Furious 5. Meeting, action, meeting, action, meeting, action and so on. The meetings are not as funny as they would like to be and the action is comically exaggerated and not easy enough to follow, given that Fast & Furious is the most successful action series of today. Furthermore, the sixth instalment does not take place in an attractive exotic environment like the fifth one does and its story has detours that make it unnecessarily protracted and less dynamic (the visit in the jail, Vin Diesel and Michelle Rodriguez racing), and we’ve already seen all of its highlights in the trailers.
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