Over the years, several audience expectations have developed in regards to the Summer Movie Season, and perhaps the most prevalent involves a new Marvel superhero film to lead in the rest of the upcoming blockbusters. Ever since 2008’s Iron Man launched the connected Marvel Cinematic Universe with the ultimate intention of bringing all of the publisher’s most popular characters together and showcasing a superhero team in 2012’s The Avengers, audience interest in new heroes (though already high) skyrocketed. In speaking of the core superheroes that make up the founding members of The Avengers, Iron Man and the Hulk have more than proven themselves as commercial and critical success stories, and in July, audiences will meet the eternally patriotic Captain America in Captain America: The First Avenger; but first, they would have to meet the Norse God of Thunder himself…Thor. Just like last summer’s Iron Man 2, Paramount swung for the fences with a surprisingly aggressive marketing program, and given Thor’s strong opening internationally, there was little doubt that domestic audiences would respond in kind. Being a hardcore and self-proclaimed comic book geek, I of course was thrilled for Thor, but I confess to being a little skeptical over how moviegoers would respond to the notoriously tricky source material for a character directly based on Norse Mythology.
Before opening on the U.S., Thor boasted a 95% approval rating on RottenTomatoes, and though I disagree with ranking this newest superhero film quite that high, I still enjoyed the overall experience. Chris Hemsworth gives a breakthrough performance as the arrogant and oftentimes unintentionally humorous Thor, successfully navigating the difficult character through significant stages of development that generate genuine audience sympathy. In terms of supporting cast, Natalie Portman and Anthony Hopkins are welcome additions, but the biggest surprise is Tom Hiddleston as Thor’s treacherous brother, Loki, who is one of the best villains I have encountered in recent memory. Special effects and battle sequences add to the appeal of Thor, but the complicated nature of the character’s back-story at times slows or outright stalls the pacing of the film, severely weakening Thor’s status as a standalone film. Though not quite perfect, Thor is still entertaining and sure to please both comic mythos purists and casual fans alike.
For more information, please read the full review.
Overall Recommendation: High
Monday, May 9, 2011
Thor: Full Review
Thor - (May 6, 2011): PG-13
Distributor: Paramount Pictures
Opening Weekend Box-Office: #1 with $65,723,338
Domestic Box-Office Gross to-date: $65,723,338
Gross Revenue: $241,723,338
Budget: $150 million
Director: Kenneth Branagh
Public interest for Thor has been growing ever since the character was referenced during a post-credits scene in last summer’s Iron Man 2, the appearance of mystical hammer Mjolnir indicating that audiences would soon be introduced to Marvel’s interpretation of the Norse God of Thunder. Australian newcomer Chris Hemsworth, perhaps best known for his brief appearance in the opening scene of 2009’s Star Trek, had been cast as the titular character, and he would be working with director Kenneth Branagh, someone who has built a reputation for his focus on the works of Shakespeare. The project for this film adaptation has been stuck in development hell for years, and to a certain extent, Marvel’s hesitancy to tackle this character was completely understandable; rather than gaining powers from technology, mutation, or chemical disaster (as is the case for 90% of superheroes), Thor’s powers from the fact that he is the actual God of Thunder…showcasing a deity rather than a scientist or geeky teenager would make it pretty difficult to get audiences to relate to the protagonist. Still, as a founding member of the superhero team The Avengers, there was no way Marvel could ignore the character, and as such, leading up to its release, promotions for Thor were all over the place. Paramount brokered deals with Acura, Burger King, Dr. Pepper, 7 Eleven and Visa for licensed material, character integrated commercials, and extensive product placement (at one point during the film, several S.H.I.E.L.D agents pull up in their new Acuras to confront Thor, who walks past a strategically placed Dr. Pepper vending machine). An early overseas release indicated that audiences were actually responding in quite a positive manner to Thor, and being a fan of the character myself, I was understandably excited to see and review Marvel’s newest heavyweight.
Within the Marvel Universe, Earth and the surrounding solar system exist as one of the Nine Realms of the known universe, and the governing realm, known as Asgard, is occupied by supernatural beings that have often been worshiped throughout history (most notably in Norse mythology) as gods. Set in present day, Thor begins as King Odin (Anthony Hopkins) prepares to accede the throne of Asgard to his son, Thor (Chris Hemsworth), but the ceremony is interrupted by Odin’s ancient enemies, the Frost Giants. Despite Odin’s warnings, Thor arrogantly attacks the Frost Giants on their home turf and shatters the fragile peace that had once existed between the two worlds; as a result, Odin strips Thor of his powers and banishes him to Earth, where he encounters scientist Jane Foster (Natalie Portman), her assistant Darcy Lewis (Kat Dennings), and her mentor, Dr. Erik Selvig (Stellan Skarsgård). Unbeknownst to Thor, Odin has also sent the mystical hammer Mjolnir (the source of Thor’s power) to Earth, and it is now protected by a spell to ensure that only those most worthy be able to wield the weapon. The dual arrival of Thor and Mjolnir on Earth attracts the attention of government agency S.H.I.E.L.D. and agent Phil Coulson (Clark Gregg), who seeks to understand the mystical nature of recent events. Unfortunately, during Thor’s absence from Asgard, his mischievous brother Loki (Tom Hiddleston) hatches a scheme to seize the throne; in the face of this new threat, Thor must learn from his past mistakes, discover the hero within, regain his powers, and save the lives of those he loves.
The above story may sound a little generic, but luckily the strongest elements of Thor are the characters which inhabit that story. Chris Hemsworth demonstrates considerable charisma as the conflicted protagonist; not only capturing Thor’s swagger and attitude, but also exercising perfect comedic timing in delivering Shakespearean dialogue in wildly inappropriate situations…I guarantee you’ll be quoting him for weeks. Natalie Portman clearly has fun with her role as superhero love interest, swooning over Thor at every opportunity, and who better to play a pissed-off patriarchal deity that Sir Anthony Hopkins? The real treat is Tom Hiddleston, giving off a manipulative air and veiling his sinister motives with such charm that he quickly transforms Loki into the type of villain you absolutely love to hate. As is typical of a comic book movie, Thor also delivers considerable action and special effects, but fans will perhaps most delight in the strong references to the deeper Marvel universe that are present within the film. Besides the obligatory post-credits scene, not only does S.H.I.E.L.D. play a direct role in the story, but sharp moviegoers will catch the references to Iron Man, The Hulk, and the extended cameo of another superhero that will be a part of the Avengers team next summer. Yet, for as enjoyable as Thor is as a summer film, some weak elements prevent this newest comic book adventure from reaching its true potential.
Given the complicated back-story of the title character, it was going to be difficult to adapt a superhero based on Norse mythology for a more casual audience, and as expected, some of the more complicated elements of the source material weakened the story and interrupted the pacing of the film. Introducing audiences to Asgard, explaining the characters that inhabit its environment, and showing how they travel between realms, is more than enough material to fill an entire movie, but Thor is forced to squeeze all of that material together in a passable way alongside superhero action in order to keep audiences engaged. In the end, it takes quite a bit of faith for moviegoers to accept and relate to all the elements that compose Thor’s world; Tony Stark is a genius who built himself of suit of power armor (sure)…Bruce Banner transformed after a horrific scientific accident that involved radiation (okay)…Thor is a god who came to earth and whose power is generated by a hammer (ehhhh). To be fair, handling this source material could have been an absolute disaster, but Thor pulled if off with some well-placed, self-aware humor, so any complaints I have may just be a necessary evil of the film. I had also praised Thor for the way the film integrated the deeper Marvel Universe, but it does seem like the filmmakers decided to designate Thor as simply a set-up for next summer’s The Avengers instead of developing it into it’s own standalone film; had I not known that Thor himself would be back on screen next summer, I would have designated the unsatisfying and abrupt ending among the worst I have ever seen. If you’re looking for the film to make perfect sense, good luck, but if you are willing to open your mind, accept the source material, and just enjoy Thor for what it is, then you will still be thoroughly entertained.
From a box office perspective, Thor has been quite impressive...not on the same scale as Iron Man or 2008’s The Incredible Hulk, but impressive nevertheless with $65.7 million its opening weekend. Unfortunately, it’s hard not to compare Thor’s opening to that of Fast Five from the week before, but like I said in that review, an opening on that scale defies almost every established norm. With international receipts already helping Thor cover its production budget and The First Avenger dropping in July, Paramount has little to worry about in terms of superhero revenue, even if the first weekend of the Summer Movie Season is where a film will see its best numbers drop. It may not be perfect, but if anything else, Thor will also act as a lightning rod to generate further interest in The Avengers for next summer, and I guarantee that the future superhero ensemble will break all kinds of records. Is Thor the best superhero movie since The Dark Knight? Probably, but consider that the films being used for that comparison include X-men Origins: Wolverine and Jonah Hex. Will you still enjoy the hell out of it? Of course.
Overall Recommendation: High
Distributor: Paramount Pictures
Opening Weekend Box-Office: #1 with $65,723,338
Domestic Box-Office Gross to-date: $65,723,338
Gross Revenue: $241,723,338
Budget: $150 million
Director: Kenneth Branagh
Public interest for Thor has been growing ever since the character was referenced during a post-credits scene in last summer’s Iron Man 2, the appearance of mystical hammer Mjolnir indicating that audiences would soon be introduced to Marvel’s interpretation of the Norse God of Thunder. Australian newcomer Chris Hemsworth, perhaps best known for his brief appearance in the opening scene of 2009’s Star Trek, had been cast as the titular character, and he would be working with director Kenneth Branagh, someone who has built a reputation for his focus on the works of Shakespeare. The project for this film adaptation has been stuck in development hell for years, and to a certain extent, Marvel’s hesitancy to tackle this character was completely understandable; rather than gaining powers from technology, mutation, or chemical disaster (as is the case for 90% of superheroes), Thor’s powers from the fact that he is the actual God of Thunder…showcasing a deity rather than a scientist or geeky teenager would make it pretty difficult to get audiences to relate to the protagonist. Still, as a founding member of the superhero team The Avengers, there was no way Marvel could ignore the character, and as such, leading up to its release, promotions for Thor were all over the place. Paramount brokered deals with Acura, Burger King, Dr. Pepper, 7 Eleven and Visa for licensed material, character integrated commercials, and extensive product placement (at one point during the film, several S.H.I.E.L.D agents pull up in their new Acuras to confront Thor, who walks past a strategically placed Dr. Pepper vending machine). An early overseas release indicated that audiences were actually responding in quite a positive manner to Thor, and being a fan of the character myself, I was understandably excited to see and review Marvel’s newest heavyweight.
Within the Marvel Universe, Earth and the surrounding solar system exist as one of the Nine Realms of the known universe, and the governing realm, known as Asgard, is occupied by supernatural beings that have often been worshiped throughout history (most notably in Norse mythology) as gods. Set in present day, Thor begins as King Odin (Anthony Hopkins) prepares to accede the throne of Asgard to his son, Thor (Chris Hemsworth), but the ceremony is interrupted by Odin’s ancient enemies, the Frost Giants. Despite Odin’s warnings, Thor arrogantly attacks the Frost Giants on their home turf and shatters the fragile peace that had once existed between the two worlds; as a result, Odin strips Thor of his powers and banishes him to Earth, where he encounters scientist Jane Foster (Natalie Portman), her assistant Darcy Lewis (Kat Dennings), and her mentor, Dr. Erik Selvig (Stellan Skarsgård). Unbeknownst to Thor, Odin has also sent the mystical hammer Mjolnir (the source of Thor’s power) to Earth, and it is now protected by a spell to ensure that only those most worthy be able to wield the weapon. The dual arrival of Thor and Mjolnir on Earth attracts the attention of government agency S.H.I.E.L.D. and agent Phil Coulson (Clark Gregg), who seeks to understand the mystical nature of recent events. Unfortunately, during Thor’s absence from Asgard, his mischievous brother Loki (Tom Hiddleston) hatches a scheme to seize the throne; in the face of this new threat, Thor must learn from his past mistakes, discover the hero within, regain his powers, and save the lives of those he loves.
The above story may sound a little generic, but luckily the strongest elements of Thor are the characters which inhabit that story. Chris Hemsworth demonstrates considerable charisma as the conflicted protagonist; not only capturing Thor’s swagger and attitude, but also exercising perfect comedic timing in delivering Shakespearean dialogue in wildly inappropriate situations…I guarantee you’ll be quoting him for weeks. Natalie Portman clearly has fun with her role as superhero love interest, swooning over Thor at every opportunity, and who better to play a pissed-off patriarchal deity that Sir Anthony Hopkins? The real treat is Tom Hiddleston, giving off a manipulative air and veiling his sinister motives with such charm that he quickly transforms Loki into the type of villain you absolutely love to hate. As is typical of a comic book movie, Thor also delivers considerable action and special effects, but fans will perhaps most delight in the strong references to the deeper Marvel universe that are present within the film. Besides the obligatory post-credits scene, not only does S.H.I.E.L.D. play a direct role in the story, but sharp moviegoers will catch the references to Iron Man, The Hulk, and the extended cameo of another superhero that will be a part of the Avengers team next summer. Yet, for as enjoyable as Thor is as a summer film, some weak elements prevent this newest comic book adventure from reaching its true potential.
Given the complicated back-story of the title character, it was going to be difficult to adapt a superhero based on Norse mythology for a more casual audience, and as expected, some of the more complicated elements of the source material weakened the story and interrupted the pacing of the film. Introducing audiences to Asgard, explaining the characters that inhabit its environment, and showing how they travel between realms, is more than enough material to fill an entire movie, but Thor is forced to squeeze all of that material together in a passable way alongside superhero action in order to keep audiences engaged. In the end, it takes quite a bit of faith for moviegoers to accept and relate to all the elements that compose Thor’s world; Tony Stark is a genius who built himself of suit of power armor (sure)…Bruce Banner transformed after a horrific scientific accident that involved radiation (okay)…Thor is a god who came to earth and whose power is generated by a hammer (ehhhh). To be fair, handling this source material could have been an absolute disaster, but Thor pulled if off with some well-placed, self-aware humor, so any complaints I have may just be a necessary evil of the film. I had also praised Thor for the way the film integrated the deeper Marvel Universe, but it does seem like the filmmakers decided to designate Thor as simply a set-up for next summer’s The Avengers instead of developing it into it’s own standalone film; had I not known that Thor himself would be back on screen next summer, I would have designated the unsatisfying and abrupt ending among the worst I have ever seen. If you’re looking for the film to make perfect sense, good luck, but if you are willing to open your mind, accept the source material, and just enjoy Thor for what it is, then you will still be thoroughly entertained.
From a box office perspective, Thor has been quite impressive...not on the same scale as Iron Man or 2008’s The Incredible Hulk, but impressive nevertheless with $65.7 million its opening weekend. Unfortunately, it’s hard not to compare Thor’s opening to that of Fast Five from the week before, but like I said in that review, an opening on that scale defies almost every established norm. With international receipts already helping Thor cover its production budget and The First Avenger dropping in July, Paramount has little to worry about in terms of superhero revenue, even if the first weekend of the Summer Movie Season is where a film will see its best numbers drop. It may not be perfect, but if anything else, Thor will also act as a lightning rod to generate further interest in The Avengers for next summer, and I guarantee that the future superhero ensemble will break all kinds of records. Is Thor the best superhero movie since The Dark Knight? Probably, but consider that the films being used for that comparison include X-men Origins: Wolverine and Jonah Hex. Will you still enjoy the hell out of it? Of course.
Overall Recommendation: High
Saturday, May 7, 2011
Fast Five: Short and Sweet
Ever since Vin Diesel and Paul Walker first introduced mass audiences to the underground world of illegal street racing in 2001’s The Fast and The Furious, popular interest in customized cars, nitrous injections, and pink slip racing skyrocketed; the franchise was effectively transformed into an indelible aspect of popular culture. Though he is actually present in only three of the five films in the series, Vin Diesel is easily the one name most closely associated with the franchise, and though his return to the big screen no doubt generated a large amount of audience interest, the biggest selling point for Fast Five involved the fact that this sequel would bring together characters from every previous entry. Thrilling as this notion may be, Universal further advanced the appeal of Fast Five by including Dwayne “The Rock” Johnson; even if you weren’t a fan of street racing, the notion of action icons Diesel and Johnson appearing together was going to be hard to ignore. Directed by Justin Lim (who has helmed the three previous films of the franchise), and released just before the beginning of the Summer Movie Season, Fast Five seemed like the perfect appetizer to draw audiences to the theater.
For those who would believe that a fourth sequel might signal a decline in overall quality or futile attempts to draw revenue solely from audience nostalgia rather than natural momentum, Fast Five will silence critics almost immediately, as it is easily the best film of the series. Though Fast Five adopts strong elements from the heist action film genre, probably making it the least “street racing” film of the entire franchise, fans will be instantaneously placated by jaw-dropping stunts, extensive chase sequences, and brutal fight scenes (the climactic fight between Johnson and Diesel is more than enough for a testosterone overdose). Being a fan of the previous entries in the series, I have to say that the reunion of past characters balanced perfectly with a new story, and it was a treat to see all the familiar faces come together and deliver surprising levels of heart and humor to the film. Some weak story elements and ludicrous stunts that ignore the laws of physics do not overshadow the fact that Fast Five more than delivers the action and entertainment that has come to be expected of a true “popcorn flick”; do not miss it.
For more information, please read the full review.
Overall Recommendation: Very High
For those who would believe that a fourth sequel might signal a decline in overall quality or futile attempts to draw revenue solely from audience nostalgia rather than natural momentum, Fast Five will silence critics almost immediately, as it is easily the best film of the series. Though Fast Five adopts strong elements from the heist action film genre, probably making it the least “street racing” film of the entire franchise, fans will be instantaneously placated by jaw-dropping stunts, extensive chase sequences, and brutal fight scenes (the climactic fight between Johnson and Diesel is more than enough for a testosterone overdose). Being a fan of the previous entries in the series, I have to say that the reunion of past characters balanced perfectly with a new story, and it was a treat to see all the familiar faces come together and deliver surprising levels of heart and humor to the film. Some weak story elements and ludicrous stunts that ignore the laws of physics do not overshadow the fact that Fast Five more than delivers the action and entertainment that has come to be expected of a true “popcorn flick”; do not miss it.
For more information, please read the full review.
Overall Recommendation: Very High
Fast Five: Full Review
Fast Five - (April 29, 2011): PG-13
Distributor: Universal Pictures
Opening Weekend Box-Office: #1 with $86,198,765
Domestic Box-Office Gross to-date: $117,881,000
Gross Revenue: $229,077,340
Budget: $125 million
Director: Justin Lin
Vin Diesel has always been notorious for his distaste of sequels, as evidenced by his absence in the first follow-up, 2 Fast 2 Furious (2003); yet his inclusion in 2009’s Fast & Furious, though a bit uncharacteristic, was met with considerable praise, invigorating a franchise that cooled considerably after 2006’s lackluster The Fast and the Furious: Tokyo Drift. Universal seemed to learn from this interesting turn of events, not only including original stars Diesel and Paul Walker but also taking measures to ensure that characters from each film in the series would play an integral part in the script. As such, marketing was clearly going to be geared towards working off of audience familiarity with the franchise; however, the first trailer (which was released on Vin Diesel’s Facebook page) seemed to position the film as more of a heist thriller than a racing film. This apparent shift in focus, combined with the inclusion of the undoubtedly popular Dwayne “The Rock” Johnson, was sure to increase the mass appeal of Fast Five, both to old fans and newer audience members alike. Despite being released in late April and thus not technically an entry of the Summer Movie Season, the star-power of this sequel and the legacy of the franchise would still set the bar for the other blockbusters set for release in the next few months.
Set after the events of Fast & Furious and thus chronologically the fourth film in the series timeline, Fast Five picks up in Rio de Janiero, Brazil, where Dom Toretto (Vin Diesel) and his sister Mia (Jordana Brewster) undertake a car heist with former FBI agent Brian O’Conner (Paul Walker). Things go south when they are double-crossed by corrupt businessman Hernan Reyes and two DEA agents are killed by one of Reyes’ henchmen. Since the three are framed for the murder of the DEA agents, U.S. Diplomatic Security Service (DSS) agent Luke Hobbs (Dwayne Johnson) is dispatched to capture the trio, enlisting honest local officer Elena Neves (Elsa Pataky) in the process. With the help of old friend Vince (Matt Schulze from The Fast and The Furious), Dom, Mia, and Brian recruit a team to seek revenge on Reyes and steal his fortune (which includes over $100 million in laundered cash). The team includes a number of familiar faces, including Roman Pierce and Tej Parker (Tyrese Gibson and Ludacris from 2 Fast 2 Furious); Han Seoul-Oh (Sung Kang from Tokyo Drift); and Gisele Yashar, Tego Leo, and Rico Santos (Gal Gadot, Tego Calderón, and Don Omar from Fast & Furious). Dodging both drug dealers and federal agents while preparing for this dangerous heist, the franchise’s best characters must use their combined skills to outsmart and out-drive their enemies.
As I mentioned in the “Short and Sweet” review, Fast Five is excellent, and easily the best element of the film involves the interaction between the familiar faces, with Tyrese Gibson and Ludacris adding considerable humor and the team as a whole conveying a surprisingly strong level of heart; fans have been following these characters for years, and the combination of the distinct personalities is a welcome reward for franchise devotees. Still, as enjoyable as this stylish on-screen reunion really was, I would be remiss if I didn’t comment on the most prevalent new-addition to the cast, none other than “The Rock” himself; Dwayne Johnson brings his status as a charismatic action star to the next level, taking no prisoners as he brutally dispatches anyone in his way, including, but not limited to, Vin Diesel himself (the whole audience was in awe during their epic fist-fight). Beyond these character interactions, as can be expected from the franchise, the car chase scenes and street racing sequences in Fast Five are absolutely unforgettable, whether that involved watching the trio steal cars from a moving train in the film’s opening scene or seeing Vin Diesel and Paul walker drag a safe through the streets of Rio and use it as a wrecking ball against police cars in the epic climax. With high testosterone levels fueling near-non-stop action, Fast Five caters to every action-junky audience member’s deepest desires, making the film a perfect example of a true summer blockbuster. To be fair, I do have a few small complaints concerning the film, but by and large they are trivial and easily forgivable.
If there is one aspect of Fast Five I could see upsetting franchise purists, it would have to do with the film’s overall shift in focus from the street racing genre to the team heist genre. Of course, there are more than enough impressive car models and hot females to placate fans of the original films, but a few scenes echo Ocean’s Eleven a little too strongly; to the film’s credit, the transition could have been disastrous but was pulled off in a relatively smooth manner. Also, in the face of all the action present, the overall story does suffer…skipping a few necessary logical elements and deferring to a largely forgettable villain. Finally, for as entertaining as the grand-scale stunts really are, I was unable to turn off my brain completely…a few sequences spit in the face of the laws of physics so strongly that I’m sure Isaac Newton rolled over in his grave a few times, such as when Paul Walker and Vin Diesel walk away unscathed from a perilous plunge off a cliff that would kill anyone who wasn’t superhuman. Still, I feel that Fast Five will keep audiences so entertained that most will fail to even notice these shortcomings; those that do will easily shrug them off, sit back, and simply enjoy.
In my earlier review of Rio I had commented on how strongly the animated film performed at the box office, but that is nothing…nothing compared to what Fast Five has accomplished. With over $86 million its opening weekend, Fast Five marks Universal Pictures’ best opening ever, the highest grossing weekend in April, and the second highest Spring opening (behind Alice in Wonderland). With combined overseas receipts, Fast Five has already almost doubled its considerable $125 million budget; analysts have expressed concern over declining theater attendance, but it looks like this blockbuster may be marking the beginning of a much-desired industry shift. Critics have also been raving, so it is clear that Fast Five has set the bar very high for the Summer Movie Season. On a side note, be sure to stay for the post-credits sequence, which delivers another welcome character return and sets the stage for another sequel. If it’s anything like Fast Five, I will buy my ticket right now.
Overall Recommendation: Very High
Distributor: Universal Pictures
Opening Weekend Box-Office: #1 with $86,198,765
Domestic Box-Office Gross to-date: $117,881,000
Gross Revenue: $229,077,340
Budget: $125 million
Director: Justin Lin
Vin Diesel has always been notorious for his distaste of sequels, as evidenced by his absence in the first follow-up, 2 Fast 2 Furious (2003); yet his inclusion in 2009’s Fast & Furious, though a bit uncharacteristic, was met with considerable praise, invigorating a franchise that cooled considerably after 2006’s lackluster The Fast and the Furious: Tokyo Drift. Universal seemed to learn from this interesting turn of events, not only including original stars Diesel and Paul Walker but also taking measures to ensure that characters from each film in the series would play an integral part in the script. As such, marketing was clearly going to be geared towards working off of audience familiarity with the franchise; however, the first trailer (which was released on Vin Diesel’s Facebook page) seemed to position the film as more of a heist thriller than a racing film. This apparent shift in focus, combined with the inclusion of the undoubtedly popular Dwayne “The Rock” Johnson, was sure to increase the mass appeal of Fast Five, both to old fans and newer audience members alike. Despite being released in late April and thus not technically an entry of the Summer Movie Season, the star-power of this sequel and the legacy of the franchise would still set the bar for the other blockbusters set for release in the next few months.
Set after the events of Fast & Furious and thus chronologically the fourth film in the series timeline, Fast Five picks up in Rio de Janiero, Brazil, where Dom Toretto (Vin Diesel) and his sister Mia (Jordana Brewster) undertake a car heist with former FBI agent Brian O’Conner (Paul Walker). Things go south when they are double-crossed by corrupt businessman Hernan Reyes and two DEA agents are killed by one of Reyes’ henchmen. Since the three are framed for the murder of the DEA agents, U.S. Diplomatic Security Service (DSS) agent Luke Hobbs (Dwayne Johnson) is dispatched to capture the trio, enlisting honest local officer Elena Neves (Elsa Pataky) in the process. With the help of old friend Vince (Matt Schulze from The Fast and The Furious), Dom, Mia, and Brian recruit a team to seek revenge on Reyes and steal his fortune (which includes over $100 million in laundered cash). The team includes a number of familiar faces, including Roman Pierce and Tej Parker (Tyrese Gibson and Ludacris from 2 Fast 2 Furious); Han Seoul-Oh (Sung Kang from Tokyo Drift); and Gisele Yashar, Tego Leo, and Rico Santos (Gal Gadot, Tego Calderón, and Don Omar from Fast & Furious). Dodging both drug dealers and federal agents while preparing for this dangerous heist, the franchise’s best characters must use their combined skills to outsmart and out-drive their enemies.
As I mentioned in the “Short and Sweet” review, Fast Five is excellent, and easily the best element of the film involves the interaction between the familiar faces, with Tyrese Gibson and Ludacris adding considerable humor and the team as a whole conveying a surprisingly strong level of heart; fans have been following these characters for years, and the combination of the distinct personalities is a welcome reward for franchise devotees. Still, as enjoyable as this stylish on-screen reunion really was, I would be remiss if I didn’t comment on the most prevalent new-addition to the cast, none other than “The Rock” himself; Dwayne Johnson brings his status as a charismatic action star to the next level, taking no prisoners as he brutally dispatches anyone in his way, including, but not limited to, Vin Diesel himself (the whole audience was in awe during their epic fist-fight). Beyond these character interactions, as can be expected from the franchise, the car chase scenes and street racing sequences in Fast Five are absolutely unforgettable, whether that involved watching the trio steal cars from a moving train in the film’s opening scene or seeing Vin Diesel and Paul walker drag a safe through the streets of Rio and use it as a wrecking ball against police cars in the epic climax. With high testosterone levels fueling near-non-stop action, Fast Five caters to every action-junky audience member’s deepest desires, making the film a perfect example of a true summer blockbuster. To be fair, I do have a few small complaints concerning the film, but by and large they are trivial and easily forgivable.
If there is one aspect of Fast Five I could see upsetting franchise purists, it would have to do with the film’s overall shift in focus from the street racing genre to the team heist genre. Of course, there are more than enough impressive car models and hot females to placate fans of the original films, but a few scenes echo Ocean’s Eleven a little too strongly; to the film’s credit, the transition could have been disastrous but was pulled off in a relatively smooth manner. Also, in the face of all the action present, the overall story does suffer…skipping a few necessary logical elements and deferring to a largely forgettable villain. Finally, for as entertaining as the grand-scale stunts really are, I was unable to turn off my brain completely…a few sequences spit in the face of the laws of physics so strongly that I’m sure Isaac Newton rolled over in his grave a few times, such as when Paul Walker and Vin Diesel walk away unscathed from a perilous plunge off a cliff that would kill anyone who wasn’t superhuman. Still, I feel that Fast Five will keep audiences so entertained that most will fail to even notice these shortcomings; those that do will easily shrug them off, sit back, and simply enjoy.
In my earlier review of Rio I had commented on how strongly the animated film performed at the box office, but that is nothing…nothing compared to what Fast Five has accomplished. With over $86 million its opening weekend, Fast Five marks Universal Pictures’ best opening ever, the highest grossing weekend in April, and the second highest Spring opening (behind Alice in Wonderland). With combined overseas receipts, Fast Five has already almost doubled its considerable $125 million budget; analysts have expressed concern over declining theater attendance, but it looks like this blockbuster may be marking the beginning of a much-desired industry shift. Critics have also been raving, so it is clear that Fast Five has set the bar very high for the Summer Movie Season. On a side note, be sure to stay for the post-credits sequence, which delivers another welcome character return and sets the stage for another sequel. If it’s anything like Fast Five, I will buy my ticket right now.
Overall Recommendation: Very High
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