by Dave House
Fast and Furious 7 is, as you’d expect, a loud and bombastic brain freeze of a movie. It’s big on action and stunt work; utterly devoid of sense or logic. It follows the same framework that did numbers for the franchise in Fast 5, which built on the action, stunts and expanded the storyline into general action and heist movie. In many ways this seems like the third part of a new trilogy which that film began. And that’s clearly how this film started out. But since the tragic and somewhat ironic death of Paul Walker, who died in a car crash when his friend was speeding behind the wheel, the film has clearly grown into a tribute to the late star of the series. Now, two films on from the series’ high, the action is ramped up even more and the plot even crazier and the cars are starting to feel as though they’ve been drifting for too long. But where it does succeed is in its celebration of Paul Walker. Bombastic and dumb as the film is, it’s a fitting ode to its lost star.
Fast and Furious 7 is, as you’d expect, a loud and bombastic brain freeze of a movie. It’s big on action and stunt work; utterly devoid of sense or logic. It follows the same framework that did numbers for the franchise in Fast 5, which built on the action, stunts and expanded the storyline into general action and heist movie. In many ways this seems like the third part of a new trilogy which that film began. And that’s clearly how this film started out. But since the tragic and somewhat ironic death of Paul Walker, who died in a car crash when his friend was speeding behind the wheel, the film has clearly grown into a tribute to the late star of the series. Now, two films on from the series’ high, the action is ramped up even more and the plot even crazier and the cars are starting to feel as though they’ve been drifting for too long. But where it does succeed is in its celebration of Paul Walker. Bombastic and dumb as the film is, it’s a fitting ode to its lost star.
In Furious 7, the gang are trying to lead a normal wholesome life. Paul Walker’s Brian is trying to settle into the role of the family man. But he can’t shake the feeling he should be speeding round in muscle cars while bullets fly and things explode around him in slow motion. Meanwhile Vin Diesel snoringly tries to patch things up with Michelle Rodriguez, who, like most of us, can’t remember what happened in the other movies because her brain got fried some time ago in the franchise. But trouble is just around the corner, because Jason Statham is on his way to fuck shit up! The cockney ex S.A.S. psycho is hell-bent on revenge after our guys killed his oddly Welsh brother in the last movie (because whatever part of the country we’re from, all Brits are the same in America: EVIL (or gay)). Cue a ridiculous manhunt executed with no logical sense what so ever. Kurt Russell randomly shows up as token Government guy. He’s got an elaborate plan to turn the tables and make the hunted Fast team the hunters and every scene is filmed in a different part of the world, because of some plot.
It’s standard, ridiculous Fast and Furious fare but on even more steroids than usual. Cars fly and parachute out of planes, Brian jumps off a bus falling off the edge of a cliff before latching onto a car miraculously drifting in at just the right moment. The Rock ‘Rockbottoms’ Jason Statham through a glass table and Vin Diesel flies a car through three consecutive skyscrapers. Slowmos on cars, pecks and jiggling T & A assault the senses at every turn to hip hop beats. Love it or loathe it, this is Fast and Furious at possibly its most fast and furiousy. It’s utterly ridiculous. With the most convoluted plot holed plot yet.
It’s standard, ridiculous Fast and Furious fare but on even more steroids than usual. Cars fly and parachute out of planes, Brian jumps off a bus falling off the edge of a cliff before latching onto a car miraculously drifting in at just the right moment. The Rock ‘Rockbottoms’ Jason Statham through a glass table and Vin Diesel flies a car through three consecutive skyscrapers. Slowmos on cars, pecks and jiggling T & A assault the senses at every turn to hip hop beats. Love it or loathe it, this is Fast and Furious at possibly its most fast and furiousy. It’s utterly ridiculous. With the most convoluted plot holed plot yet.
Leave any semblance of logic and probably a fair amount of pride at the door and for the most part it’s a blast. But the Hollywood braindead action Blockbuster is certainly getting stale. I’ve seen so many crazy Hollywood action scenes that going to the cinema is starting to feel like doing shifts as a security guard in the monitor room. There are so many action scenes in the movie and most of them last for so long that it starts to get boring. Each one of these films blur into the last and Hollywood throws so many cars and bullets and tits and bums around that I’m getting generally numb.
But there’s no sign of this franchise dying, even when its hero has. In fact, perversely, in many ways, Walker’s passing has almost breathed new life into the series. It’s done something for the franchise that would have otherwise been impossible. It’s made it mean something. For a long time, the staple street code of ‘Family’ has been the emotional trope of the franchise. But it’s always seemed mostly irreverent in a series that has cars parachuting out of planes. Now, with Walker’s death, the emotional connection of these characters feeling like a family and caring for one another, has become tragically relevant. It’s still dumb. But it feels honest. And as ridiculous as Fast 7 is, the film tackles the loss of Walker in a surprisingly smart and sensitive manner.
Daft as arseholes, but enjoyable enough and surprisingly heartfelt; Fast 7 works as a fitting goodbye to Paul Walker.
Fast and Furious 7 is out this Friday
But there’s no sign of this franchise dying, even when its hero has. In fact, perversely, in many ways, Walker’s passing has almost breathed new life into the series. It’s done something for the franchise that would have otherwise been impossible. It’s made it mean something. For a long time, the staple street code of ‘Family’ has been the emotional trope of the franchise. But it’s always seemed mostly irreverent in a series that has cars parachuting out of planes. Now, with Walker’s death, the emotional connection of these characters feeling like a family and caring for one another, has become tragically relevant. It’s still dumb. But it feels honest. And as ridiculous as Fast 7 is, the film tackles the loss of Walker in a surprisingly smart and sensitive manner.
Daft as arseholes, but enjoyable enough and surprisingly heartfelt; Fast 7 works as a fitting goodbye to Paul Walker.
Fast and Furious 7 is out this Friday
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