Fast & Furious 8
aka
The Fate of the Furious
(2017)
(SPOILERS) Fun. Brio. That’s what any director needs to
bring a sense of to the ever more absurd Fast
& Furious franchise at minimum. Action chops are definitely up there,
but paramount is an active affinity with how plain silly the series is. And
it’s a quality F Gary Gray doesn’t really have, or if he does, he’s never shown
it, previously or here. Even his action leaves something to be desired (his The Italian Job remake is far superior
in that regard). Which isn’t to suggest there isn’t fun to be had from Fast & Furious 8/The Fate of the Furious, but it’s much
more sporadic and performance-based than the previous outing, lacking the
unbridled gusto James Wan brought to Furious
7.
But maybe I’m wrong about this. While I’ve seen every
instalment in the franchise (only the once, mind) I haven’t followed it avidly
in order (1, 4, 5, 2, 3, 6, 7, 8, I think, only the first and last two at the
cinema), although, it isn’t as if the makers subjected the series to anything
approaching a linear unfolding. I don’t claim to be an authority on its
unlikely alchemy, and I’m not one of the faithful who attest to hidden depths explaining
its phenomenal global appeal, those who might justify a soberer approach. I
certainly don’t subscribe to its key word being family (and neither do mutual off-screen
tiffers Vin Diesel and Dwayne Johnson, by the sound of it), any more than I considered
Paul Walker’s Bryan crucial or missed his absence (except that, if Scott
Eastwood is intended to represent a nominal replacement, the makers need to go
back to the casting couch, or virtual Walker drawing board). Not that Walker
couldn’t be a strong presence, given the right material (check out Running Scared), but he was no more
indelible than Diesel.
Yeah, I don’t think these movies would have any problem
existing without their “parent” figure, particularly since Vin’s presence seems
to rest on spouting sick-making platitudes when he isn’t offering an air of
chrome-domed, gimlet-eyed impassivity, even when the scene doesn’t ask for it
(like Tom Cruise, he isn’t someone you want to get bogged down with doing love
scenes, or even suggesting a sense of emotional contentment). And even more so
because, as one of original’s stars – although 2 Fast2Furious is surely more seminal, for introducing Tyrese and
Ludacris – a paid-up producer and purported headliner, he sees fit to serve
himself great chunks of storyline to show off the depths of his talent and the
awesomeness of Dominic Torretto. Hence Furious
8’s Dom-goes-rogue plotline, which isn’t, to be fair to Vin, such a bad idea
as far as mixing things up goes. Less so when it calls on Diesel to be
heartfelt or raging (the funny thing is, the guy can act, even if steely resolve tends to be his best foot forward,
as in the Riddicks), and particularly
when he deems fit to have the plot turn on a baby (again this has a positive
consequence in terms of another character’s subplot, but not when it comes to Dom
getting all angsty).
The extent of my superficial interest in the series is
underlined by only very, very vaguely remembering that Elena (Elsa Pataky) had
appeared previously. That she actually showed up in 5, 6 and 7 before this just
elicited a “Huh?” of stunned realisation. So I’m afraid I didn’t really share
Dom’s pain. To a lesser degree, in that the makers don’t appear to know what to
do with Ramsey, aside from introducing her to a pair of tight jeans, I also
failed to recall that Nathalie Emmanuel (who I did recognise, but from Game
of Thrones) was part of the team. On the subject of thankless female roles,
I’m quite sure Charlize was paid handsomely – and her hairdresser, for sculpting
her dread head – to kiss Vin and be one-note nasty Cipher, so she probably
doesn’t need a whole lot of sympathy, but she should be commanding better roles
than this. Then I remembered that she’s due to co-star in a romantic comedy
with Seth Rogen, so I guess not.
The rogue Dom storyline is resolved in the least satisfying
manner (roughly along the lines of “I knew
he couldn’t be the bad guy!” when he saves his pals in an astonishing piece of
driving whereby he manages to arrange for the bad guys’ rockets to blow up their
own evil convoy), but the upside of Diesel being not much fun at all is that,
once we get past the cloyingly preachy opening (something about acceptance,
forgiveness, racing and polluting the ocean with the explosive remains of your cousin’s
clapped-out car), there are significant stretches of the picture devoted to the
rest of the team, and that’s really why I go to see a Fast & Furious movie.
Apparently, Vin, being a big insecure baby and needing a
pacifier (see what I did there?), nixed a credits scene between Luke Hobbs (The
Rock) and Deckard Shaw (The Stat). And apparently Universal, knowing gold dust
when they snort it, have just greenlit a spinoff with the pair (the suggestion
being Johnson has no wish to work with Vin again). It’s easy to see why, as
their feuding banter in the early part of the picture, before, during and after
a rather cool prison escape (only dented by Gray’s decision to go shakycam and
thus render swathes of the action and geography incomprehensible) is easily the
most satisfying element of Furious 8.
Such that, when they make pals, amid a crummy joke, it’s rather disappointing:
what you don’t want is spinoff where
they’re best buds (Shaw joining the gang has also elicited a disconcerted
response from Furious faithful, who
will never forget the death of Han, never). The other highly satisfying element is Deckard
subsequently diving onto a plane to save Vin’s baby from evil Cipher,
despatching villains while cooing at the tiny tot (evidently inspired by Clive
Owen starrer Shoot ‘Em Up). His
brother (Luke Evans), I can take or leave, although even his presence is
distinguished by the Stat constantly rebating him.
Indeed, it’s difficult to recall, so essential is the Stat’s
deadpan delivery and in-your-face sense of humour, how this series got by
previously. There’s something immensely satisfying about the swimmer-cum-actor being
invited to double up as both action and comedy guy (he’s also by far the best
thing about Spy). I’m not so sure
about the Rock, on this evidence. He’s always giving 100%, but the material
often isn’t up to the task. At least, when he isn’t reacting to the Stat
calling him a musclebound moron. Teaching his daughter’s football team or,
unforgivably, rehearsing the “Daddy’s gotta
go to work” line from Furious 7
(the best moment in that movie, and a sign of creative bankruptcy to try and
reformat/encore it) fall flat. He has some nice beats, shouting at Roman “Why are you always shouting?” during the
ice chase and quipping “Nasty” after Letty
(Michelle Rodriguez) drops a heavy into a propeller. And, hilariously,
redirecting a torpedo shooting along the surface of a frozen lake with his bare
hands (albeit, you just know Wan would have made the moment sing louder) but
you notice how inconsistently serviced he is here, possibly because there’s
more of him than last time.
Of the rest of the family, Rodriguez gets just enough to do
to suggest she isn’t merely a spare wheel (much of it relating to look pained
at Dom’s betrayal, and then elated at his non-betrayal), Tyrese is required to
shout a lot, often about shrinkage, express dismay at not making Interpol’s 10
most wanted list (he languishes at 11, below Ramsey) and generally bounce
agreeably off any given player (about the only time Eastwood makes an
impression is when they’re trading insults), trying his hardest to make this
seem more fun than the movie Gray is making (the beat where he’s skating on a
car door, like the torpedo moment, would have been all the better with a zesty
director shooting it). Ludacris is likewise always good value.
Kurt Russell brings effortlessly cool with him and seems
right at home playing a character who’s enjoying himself and his status
immensely. Eastwood is carved out of
pure wood, so his inexperienced, by-the-book character works, just about, when
everyone is treating him horrendously but completely doesn’t when he’s asked to
loosen up and has no personality to unveil. Helen Mirren makes a significant
impression, but mostly because of her posh-lass-does-cock-ernee accent.
It seemed to me there was more conscious violence in this
one, although I may just be misremembering previous instalments. Killing off
Elena in front of Dom makes for a brutal moment, but would have more impact if
any one cared about the character (admittedly, I’m assuming I’m not the only
one who didn’t; Dom certainly seems to get over the life-changing incident
quite easily). More than that, though, did the entire gang always kill people
so cheerfully prior to this? I mean, I can see Deckard and Hobbs doing it (and
Bryan, historically), because they’re professionals, but for the rest it seems
a bit off. Shouldn’t they stick to daredevil driving and technical wizardry?
In terms of wizardry, script-wise and visually, Chris Morgan
has penned every instalment since the fourth, and he manages the occasional
coup here – the sudden attack on the base and stealing of the God’s Eye – but
the remaining items on Cipher’s shopping list (nuclear football, nuclear
submarine) are much less disciplined in conception, and Gray singularly fails
to take up the slack in execution. There’s an enormous amount of carnage produced
during the nuclear football sequence, but none of it engages (aside from the sight of a passenger leaping out of an out-of-control car into oncoming traffic). The one personal
stakes moment, as the crew harpoon Vin’s car, is resolved in a manner that
entirely fails to convince, a shame as it’s a great “now get out of that”
(Morgan probably needed to devise it backwards). The ice lake climax just seems
to go on and on, occasionally arousing a glimmer of interest, but lacking
finesse in its choreography (Gray’s all over the shop) and failing to muster
clear, dramatically-engaging goals for each character. When you’re watching it,
you’re waiting to get back to the Stat on the plane.
Certainly, if one of the lessons from Fast & Furious 8 is that the series doesn’t need to rely on
Vin, and doing so will probably be to its ultimate detriment, a more important
one is that they should be ensuring another key team member, the director, will
lift Furious 9 to the level of the gloriously
demented the series deserves. Gray’s the most pedestrian director these movies
have seen since the first two instalments, and it’s moved on a long way since
such (relatively) grounded adventures. There’s also the question of what
happens if the Rock and the Stat are off doing their own thing. I guess bring
in some replacement larger-than-life characters; there’ll still be Diesel, keeping
things real, talking up his serious Dom arcs, waxing seriously lyrical about
family and looking seriously uncomfortable when he’s called upon to crack a
smile.
Agree? Disagree? Mildly or vehemently? Let me know in the comments below.