Although it’s a step down from Fast & Furious 6, Furious 7 is still a tonne of incredible fun.
Watching the film critic community slowly come around to the Fast & Furious series has been almost as fun as watching the evolution of the Fast & Furious series or, in fact, watching these movies themselves. See, with the obvious exception of 2 Fast 2 Furious – which failed because, as the title alone probably tips you off to, it tried force its ridiculous cheesiness in a cynical way instead of with the sincerity that the rest of the franchise has – this series has always at least been good. The Fast and the Furious is a perfectly watchable movie, if a little self-serious, the strangely-maligned Tokyo Drift would still be the series high-watermark if it didn’t have the problem of Lucas Black being near-incapable of acting, and I like Fast & Furious shut up.
Fast Five was the moment where the rest of the critical world sat up, took notice and collectively realised that these are some damn fine movies worthy of legitimate appraisal, likely helped by the fact that it’s still one of the best action movies released this decade – a lightning-in-a-bottle moment where all of the unintentional hard work in constructing this world and these characters paid off in spectacular fashion, whilst still working as a brilliant action film in its own right. Also it’s a heist movie and, as science can prove, good heist movies are better than pretty much anything else ever.
Fast & Furious 6 couldn’t hope to match up, although it gave it its best damn shot by once again changing genres. In fact, there’s another reason why this series has been great. In addition to its knowing but completely sincere silliness – I mean, this is a series whose main emotional and thematic through-line is about the unbreakable power of a surrogate family of friends with no knowing winking or under-cutting of said, after all – and its surprisingly deep and well-drawn cast of characters, the series is never afraid to simply change genres at the drop of a dime. The Fast and the Furious was a Point Break riff, 2 Fast was a bad buddy-cop movie, Tokyo Drift was basically a coming-of-age drama, Fast & Furious was a good buddy-cop movie shut up, Fast Five was a heist movie, and Fast & Furious 6 was a gloriously ridiculous action movie.
So, following on from all of that, Furious 7 turns out to be… Fast & Furious 6 again, sorta. In its defence, save for space or trans-dimensional hopping – which are both gold ideas, you can have those for free, Universal – there really isn’t anywhere else left to take this series, except to make the ridiculous action movie even more ridiculous. With the change in directors, though, from Justin Lin to horror movie veteran James Wan, you’ll have to forgive me for hoping for more of a shift than “bigger and crazier”, an admittedly welcome injection of extra melodrama, and more camera tricks for certain action sequences.
That being said, though, the fact that Furious 7 is still an incredibly fun and surprisingly coherent film is a goddamn miracle considering its troubled and beleaguered production. In fact, let’s address that room elephant right now: it’s amazing just how well the film manages to work around the death of franchise star Paul Walker and the necessary requirement to write the character of Brian O’Conner out of the series. I even spent a lot of the runtime sat there in the cinema trying to figure out where exactly the re-writes and stand-ins had started occurring, expecting it to be really obvious relatively early, but the way they do it is so natural and so keeping in kind with what they had set up before – Brian is adjusting somewhat reluctantly to domesticated family life with Mia (Jordana Brewster) and his son Jack, missing the life-or-death adrenaline that came from working with Dom – that it gains this extra eerie undertone that adds to the subplot’s weight instead of distracting from it.
Admittedly, it goes overboard near the ending, as the film proceeds to send off Brian and Paul in the most openly manipulative, cheese-ball way, but I would be lying to you if I didn’t admit to shedding multiple tears as it happened. Open heart-on-sleeve affectionate sincerity is how Fast & Furious operates, so the really on-the-nose way that it waves goodbye to Paul Walker is still fitting even if it is admittedly excessively manipulative. Also helped by the fact that, with the exception of one fight scene late in the game and the last sequence, I honestly could not tell where the real Paul Walker’s scenes finished and his stand-in-CG-combo double started.
And whilst I’m not spending the rest of this review making worrying sounds that approximately translate to how much I enjoyed this movie, I must note that the film is more than a little overcrowded. In addition to having Dominic Toretto’s (Vin Diesel) crew relentless pursued by the brother of Fast & Furious 6’s Owen Shaw, Deckard (Jason Statham), who is looking for vengeance, the crew are tasked by a possibly-government-affiliated division, headed up by a guy who calls himself Mr. Nobody (a positively-beaming Kurt Russell), to recover a super-surveillance software called “God’s Eye” for them before it falls into the hands of an evil warlord (Dijimon Hounsou) with the promise of Dom getting to use it to hunt down Deckard when all is said and done.
Consequently, Hounsou’s warlord feels… pointless, to be frank, and he doesn’t even get any memorable material to make up for that fact. There’s a lot of relatively unnecessary flab to proceedings, characters that walk in and walk out as required without much to do. On the positive side, Kurt Russell’s visibly joyous performance is infectious and Ramsey (Nathalie Emmanuel) makes a nice addition to the crew if she’s sticking around. On the negative side, Hobbs (Dwayne Johnson) is side-lined for too much of the film for my liking, although that does let the focus return to Dom and Brian which is fitting, and Rhonda Rousey shows up quite literally just so that Michelle Rodriguez has somebody to fight because, hey, why not try to recapture those brilliant Gina Carano fight scenes from number 6? Fast Five had a similar excessive nature but did a better job at juggling everything without giving many characters the short shrift.
So, with that negativity and elephant-addressing out of the way… HOHOHOHOHHAHAHAHAHAHAHA!!! Oh, folks, words can’t truly express how much fun I had with this one! The Fast & Furious series just taps into a kind of primal adolescent joy for me, where everything to do with the action runs purely on Rule of Cool and a desire to be stupidly entertaining, which makes it one of the purest expressions of childlike imaginative fun on film today. I cackled with maniacal glee at this movie multiple, multiple goddamn times and every time I thought that they’d topped themselves, they proceeded to surpass that bar with ease. (Whether you agree depends on how much you like your glaringly obvious CGI, although I gave it a pass as I saw it as a stylistic choice.)
On that note, Deckard Shaw. Now, technically, he’s a victim of the film’s overstuffed nature, since he has to share screen-time with Hounsou’s uninteresting warlord and therefore suffers from alternating too often between being the primary and secondary villain. However, I honestly like the fact that he’s not really got much of a personality outside of the opening scene of the film – which, for the record, is fingertips away from Fast Five for me in “Best Opening Sequence of This Series” stakes – and I really like the way that he just keeps turning up randomly as our heroes are about to complete their objectives to throw a spanner in the works, like a one man army of TimeSplitters. He also gets a fantastic pair of fights with Hobbs and Dom, with the latter including a climax that is AMAZINGLY DUMB, so I’m satisfied.
Fight scenes are a lot of fun, even though James Wan and his team of editors have an unfortunate tendency to cut just a little too often. Tony Jaa is in this and gets to fight Brian with both instances delivering very nicely, the Rousey/Letty fight might not measure up to either Carano fight but is still pretty good and I once again appreciate a Hollywood film with a female fight scene where the aim is not primarily to be intentionally arousing, and the fight scene between Hobbs and Deckard is already a strong contender for the best of the year. Though he may cut a bit too often, Lin is also a man of style, employing 360° camera pans and a camera that keeps the person it’s shooting vertically-centred but spins the rest of the world around them as normal (I can’t describe it well but it’s self-explanatory in motion) to sparing but enjoyable effect.
You may notice that I’ve talked minimally about the film’s many gloriously deranged action sequences up to this point and, surprising no-one, this is intentional. I went into Furious 7 knowing pretty much next to nothing about what it would end up doing in said ridiculous action scenes. This is the optimum way to watch Furious 7. After all, why should I tell you how a last minute rescue made me laugh maniacally, how the end to one fight scene is officially the new “Most Wonderfully Dumb Thing to Happen In This Glorious Franchise”, how the Abu Dhabi payoff manages to overcome its CGI nature to still be one of the most entertaining setpieces I will likely see all year, or even allude to how the finale goes, when you can experience these things in glorious context properly? Why should I spoil them for you when I went got to see them near-totally fresh?
Don’t, however, assume that the character work has gotten lost in the shuffle. It’s all still here – Letty is still struggling with her amnesia, there’s Brian’s conflict with domesticity, and Roman wants to be taken more seriously as a part of the team – but the time delegated to just them is more reduced than it was in Fast Five or Fast & Furious 6. That said, these characters are all so strongly drawn and defined that any scene of them just bouncing off of one another is a joy to watch, and the action scenes take the time to put in multiple character beats instead of just being pure noise, the car skydive is a particularly great example. The new additions, again with the exception of the warlord, make great strong impressions and slide neatly into the world that screenwriter Chris Morgan – who has penned this franchise since Tokyo Drift – has created.
Most importantly, that silly heart-on-sleeve sincerity never leaves the film’s side. Not even for a minute. This is what separates the Fast & Furious movies from your lesser dumb blockbusters like, say, Transformers. Films like Transformers clearly hate their own existence almost as much as they hate the audience for turning up to them, so their dumbness is built on bitterness and cynicism, a desire to slap together a whole bunch of loud explosions in as lazy a fashion as possible to extract cash from an audience it reads as gullible walking wallets. The Fast & Furious series, however, has love for itself and love for its audience. It sincerely believes that your surrogate family is the strongest bond that one could have, that throwing cars at problems really is the best way to solve everything, and that the audience isn’t wrong for finding this all to be f*cking awesome because it correctly agrees that this is all f*cking awesome. So it puts effort into every scene, every stupid action sequence, every ridiculous pre-fight exchange, every character’s relationship with one another.
There’s love, genuine love and it doesn’t undercut that at any point. That’s why, when it comes time to say goodbye to Paul Walker and the character of Brian O’Conner, I proceeded to cry like nobody’s business, because it earned it. This is a series that earns its emotional release and its heart because it puts tangible love into every single frame. Yeah, it’s a dumb series about flinging cars at ridiculous problems until they stop being problems! It’s more f*cking sincere and heartfelt than the majority of last year’s so-called “prestige” pictures! And even though it doesn’t scale the heights of Fast Five and has its share of structural problems, Furious 7 is still a damn fantastic time at the cinema, another excellent instalment in the blockbuster series that all other blockbuster series should strive to reach for – not even mentioning its majorly diverse cast – and the perfect tribute to one of the series’ main stars.
Goddammit, I love this wonderful series.