The Fate of the Furious

A mad evil genius, hellbent on disabling geopolitical individuality, captures Dom (Vin Diesel) in The Fate of the Furious, in a loathsome attempt to make his honourable good nature her own.

Having recently proven to the Cuban people that he can indeed be trusted, aligning repute with action in victory aflame, his team can't understand why he's betrayed them, as the clandestine Mr. Nobody (Kurt Russell) greenlights their cold pursuit.

The independence of so many reliable furiousae imminently threatened by sheer nuclear arithmetic, it's imperative that high octane risk potential variably triggers alarm.

The team still excels without its leader, while said maestro recalibrates slipstream, Cipher (Charlize Theron) exposing them to coerced extreme disorder, fraught with maniacal familial leverage.

They must assemble in accordance with the abilities that have enabled them to defy the blasé and the mediocre, a baker's half dozen all-pro renegades, continuously eclipsing radially refined exuberance, caught up in arch-villainous bluster, acrobatically shifting gears thermoclined.

Masterminds.

Bringin' it.

Expounding.

The ill-tempered quickly regain their composure to regally embrace destiny punch maximum overdrive within.

Searching for new ways to exhaustively entertain, they battle a submarine no less, and a legion of remotely controlled ghost cars.

If practically everything is technologically outfitted, in the future, even raking, will every upcoming detective film and television show revolve around how a seemingly secure system was hacked, driverless cars being potentially used to commit murder, every crime solved thereafter by a neuromantic cybersleuth, potentially named, Chevron Wikireseau?

Nanosyntheses.

Enjoyed The Fate of the Furious and definitely preferred it to part 7.

Dom's compelling blend of tenacity and tenderness is reconstituted au début, and the massive accompanying cast has an intricate role to play, minor and major denizens alike, notably the subplot involving Deckard (Jason Statham) and his mom (Helen Mirren)(if Judi Dench can rock Philomena, Helen Mirren bejewels Magdalene Shaw), new fast learning by-the-book toehead (initially) Little Nobody (Scott Eastwood), and a frustrated Roman (Tyrese Gibson) who's been disrespectfully seven/elevened.

There are so many characters to take into consideration when writing these scripts.

Plus an incarcerated Dwayne Johnson (Hobbs) of course.

Tej Parker (Ludacris) could have had a bigger moment.

Risky to play freebird with Interpol?

Fast, furious, frenetic, freewheeling.

If you don't like these films, why do you go see them?

Tough to top the submarine, the torpedo.

Can't wait to see what happens next.

I don't even drive. I ride the bus.

The entire world's after them but they sort of work for the government.

Is that 21st century?

High stakes heuristics.

Barrellin' on down.

Furious Seven

Fast-paced volatile extremely airtight precisions dominate the best moments of Furious Seven, the latest, possibly the last instalment in The Fast and the Furious franchise.

Which could have been better.

Riddick won my heart years ago so I have a soft spot for Vin Diesel, but you have to give him a better script to work with if you want his raw animalesque agility to instinctually throttle.

The franchise moments, the moments where they b/romantically tie all the films together, are so flimsy and sentimental that I thought I might shed tears of corn husked slushie.

I'm not that devoted to the films, so I thought perhaps I would have been more forgiving if it had been a Star Trek or a Die Hard film, but this isn't true, when those franchises screw up, I'm still there to remind them.

For instance, I did prefer Furious Seven to Star Trek: The Motion Picture, Star Trek V, and A Good Day to Die Hard.

You still have to suspend your disbelief a wee bit too much while viewing it however.

The final battle is just too ridiculous.

Dwayne Johnson awesomely decides to leave his hospital bed (where I believe he was watching the Stampeders) and join in on the action, but come on, how did he find everyone so quickly, it's as if he's simply programmed to kick-ass, and can intuitively place himself within those situations which immediately require ass-kicking.

There's more, but I'd rather not get into it.

It's fun, don't get me wrong, and hey, I love a strong Belgian ale, and Kurt Russell (Nobody), and Corona sometimes, at the beach, although if I could get strong Belgian ale at the beach, but they didn't spend enough time on the script, and may have gotten away with some bland insincerities.

The script doesn't show enough respect for fans of the franchise in my opinion.

Although I'm not a devoted fan.

So I might not know what I'm talking about.

Think I'll hit up a terrace though.

Yes, I, will.

Fast Five

Fast cars, frenzied action, forlorn characters, and frenetic frictions make up Fast Five's feverish collisions as the duration of its franchise is significantly distended.

Dominic Toretto (Vin Diesel) and his team of vehicular visionaries are on the run from both the law and a Brazilian gangster as familial responsibilities reconstitute their pursuit of happiness.

As if they're beyond good and evil.

They're not trying to rob from the rich and give to the poor, they're trying to heist around a hundred million and make a break for the sunset. They have the tools and possess the know-how; it's now just a matter of exceptional skill and impeccable timing.

Not to mention good buds and a wrought iron reputation.

The film's intense and fun to watch. There are many logical miscues but it is deeper than it appears on the surface.

For instance, Brazilian gangster Hernan Reyes (Joaquim de Almeida) thinks he can control communities by providing them with lavish gifts. He provides the finances for projects and expects a high degree of subservience in return. After he places an enormous bounty on Dominic's head, you'd expect there to be at least one scene during which he encounters an agile opportunist, but this doesn't happen. Since the population is so used to Reyes's duplicity, no one trusts him unless they have to, and therefore no one seeks to betray Toretto.

Hence, at least some of the thought put into Fast Five wasn't geared towards stunts and getaways, and if you can get over the stock characters and sensational situations it's worth checking out. These films aren't really about employing more advanced rhetorical devices, their more advanced rhetorical devices are built into the ways in which they present more elaborate sensational situations, 'out-witting' what's taken place in their predecessors, and using a gangster's safe guarded by the police to smash up both the police and the gangster, well, that was a good idea.

But don't take my word for it.