Fast and Furious

15, 2009, Directed by Justin Lin
Starring: Vin Diesel, Paul Walker, Jordana Brewster, Michelle Rodriguez

Back in 2001, critics labelled Vin Diesel as the next big movie superstar, and despite flops xXx (2002) and The Pacifier (2005), the actor's return to the franchise which launched him (alongside Michelle Rodriguez, Jordana Brewster and, of course, Paul Walker) is warmly welcomed; it's a shame though that this reuniting slice of action is the weakest in the series.

With returning characters at the forefront of the action, Fast and Furious tzkes time to establish each characters standing; Diesel's Toretto and the 'family' - including Sung Kang's Han, imediately placing the film's chronology pre-Toky Drift, are still committing highway heists, whilst Walker's Brian O'Conner is inexplicably working for the FBI in LA. Despite a thrilling extended opening that reintroduces the team like they never left us, inputting slow-mo to heighten the thrills, Fast and Furious plays like an extended episode of a US soap. The over-arching plot involving heroin importer and cartel leader Arturo Braga (Jon Ortiz) proves pretty similar to previous story attempts, which isn't to say the many plot-twists all work (an early death shocks) and seeing the cast reunited lives up to whatever expectation there was.

The original's fresh foot-pumping street races are absent, replaced with more lazily-constructed efforts to exhilarate – perhaps best summed up by a street slalom where the characters are denied improvisation –due to the placement of a sat nav. But, that breathlessly-paced opener just about carries you throughout, and when lines are spoken such as ‘When the GPS calls, you follow”, it's hard not to be entertained. With fuel injected late on, Justin Lin ensures that once the climax zooms past, you’ll be drawn back into the mindless shenanigans of Toretto and co., and ready to take your seat for numero five.

2.5/5

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The Fast and the Furious: Tokyo Drift

12, 2006, Directed by Justin Lin
Starring: Lucas Black, Sung Kang, Bow Wow, Nathalie Kelley

A franchise-resetter, the third instalment of The Fast and the Furious series axes all former characters and translates the action to Tokyo, where teenage American rebel Sean (Lucas Black, clearly in his twenties) embroils himself within the underground world of drift racing in Tokyo, locking heads with 'Drift King' Takashi in the process.

What feels like a straight-to-DVD attempt to keep the franchise burning soon elevates itself to ridiculously watchable fun as Sung Kang's potato chip muncher Han takes Luke under his wing, handing him shiny new cars, and teaching him how to professionally drift. Merge this with Kill Bill's Sonny Chiba waltzing onto the screen as Takashi's high-ranking Yakuza grandfather and you might actually find yourself enjoying something you probably never expected to.

A late-minute surprise cameo ties the seemingly-unrelated film to the rest of the franchise with fist-pumping success secures writing/directing duo Chris Morgan and Justin Lin as the guys responsible  for extending the film series' miles.

3/5

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2 Fast 2 Furious

15, 2003, Directed by John Singleton
Starring: Paul Walker, Tyrese Gibson, Eva Mendes, Cole Hauser

The production of 2 Fast 2 Furious, the (believe it or not) second film in The Fast and the Furious franchise, was plagued with sure signs of bad-sequel syndrome; Paul Walker was the only original cast member to return, with even director Rob Cohen jumping vehicle, leaving it to Boyz N the Hood guy John Singleton to lift the reigns. As doomed as things sounded, the result is an equally as fun, even more quotable if a little tiresome rehash of similar events. The presence of Cole Hauser and Eva Mendes (as drug cartel boss and undercover cop girlfriend, respectively) helped lift things, as Paul Walker’s former cop Brian O’Conner and former criminal pal Roman Pearce (a wisecracking Tyrese Gibson) are handed carte blanch by the feds in order to go undercover themselves, ride around Miami and bring Hauser's Carter Verone down. Cue car-racing time trials, fit with Brian and Roman pulling dangerous stunts on busy highways, and a central friendship between the two which adds neat laughs in between the action - all of which makes up for the lack of Diesel.

3/5

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The Fast and the Furious

15, 2001, Directed by Rob Cohen
Starring: Paul Walker, Vin Diesel, Michelle Rodriguez, Jordana Brewster

It's somewhat a shock to consider that The Fast and the Furious raced onto cinema screens well over a decade ago - in the summer of 2001 - to impressively rave reviews. It's testament to Rob Cohen’s original that what has become a guaranteed bankable franchise has stood its ground amidst the insurgence of 3D and the moody superhero blockbuster. Upon retrospect, what The Fast and the Furious does so well is what every ensuing film in the series has done since; embraces its mindlessness in a winking manner. Whilst the original was aimed at thrill-seekers who love their cars shiny, fast and surrounded by scantily-clad women, in essence all it comes across as is Point Break - minus the bank-robbing surfers, but with added truck-robbing street racers.

First time around, the cast may not cause much to shout about. We've got Vin Diesel’s Dominic Toretto, the hulking silent leader of the street-racing ‘family’ which consists of Michelle Rodriguez’s Letty, Toretto’s sister Mia (Jordana Brewster) – and new addition Brian O’Conner (Paul Walker), whose loyalties are tested in ways you are meant to care about in between the frenetically-paced car race sequences. It has to be admitted though that although the cast haven't gone on to the illustrious careers expected of them (between them, flops range from xXx to Into the Blue), perhaps these were the characters they were born to play.

3/5

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The Great Gatsby

2013, 12, Directed by Baz Luhrmann
Starring: Leonardo Di Caprio, Tobey Maguire, Carey Mulligan, Joel Edgerton

Originally slated for a Christmas release, cinema-enthusiasts and literary lovers alike have been tantalised by the idea of Baz Luhrmann’s big-screen translation of F. Scott Fitzgerald’s ‘Great American Novel’ The Great Gatsby for a few months more. With no aim for awards success and concern consequently arisen, the purists began to doubt the man who brought Shakespeare’s Romeo + Juliet and Moulin Rouge! to life in only the way Baz could - perhaps intensified by his unique use of 3D and a soundtrack filled with several Jay-Z collaborations. We’re set in the 1920s, remember.

It is down to Tobey Maguire to assume the role of our narrative guide Nick Carraway, a Long Island-lounging stockbroker, cousin to the delectably-desired Daisy (Carey Mulligan). Together with Daisy’s husband, Tom Buchanan (Joel Edgerton, on brutish form), and our titular next door neighbour is 'old sport' Nick immersed into the luscious lifestyle of how the other half live, and the knowledge of a past life attempted to be relived.

Leonardo DiCaprio continues his journey as perhaps the finest actor of our generation, if not one of. Portraying Jay Gatsby’s mysteriously cryptic, but strangely alluring presence in the finely-tuned way that he does not only impresses (once again), but stays true to Fitzgerald’s character description. Maguire, for all his wide-eyed innocence, impresses more than ever as Carraway, whilst Mulligan deals the film its dull note. It can’t be taken away that she looks the part, but perhaps Daisy Buchanan is a character best encountered on the page.

Much can be said for the film’s final stretch; as an exploration of Gatsby, the film soars. When Luhrmann hands things over to the narrative, removing much of the flair dealt to us from the offset – right through to the oddly downbeat ending – is when things helplessly fall flat. It’s like enjoying an all-night party with the host calling things off at around 2am.

Perhaps upon retrospect, The Great Gatsby merely delivers in the way people can expect a Baz Luhrmann film to deliver; a lovingly-crafted cine-visual treat (it’ll shock you how loyal an adaptation this remains; in parts, Fitzgerald's words literally grace the screen). It’s a shame that the novel’s representation of hope is left under the mound. But with bundles of bravura, a damn cool soundtrack many will scramble to download and a story for the ages that jumps from the pages, it’s safe to say The Great Gatsby succeeds.

The 20s are like they’ve never been, leaving no stone unturned in pleasing the aesthetically-charged eye. Scenery, costumes, décor, zoom shots – you’re thrusted a fistful of elements to gorge your eyes on before the 15-minute mark has been hit. And that’s before any of the party scenes. As dazzling as you’d expect, everything contained within the screen oozes decadence, even if the doses move from dazzling to desperate in the space of a few scenes.

Still, when Leo raises that glass, half-smiling at the camera with fireworks erupting around him, it’s hard to deny that Gatsby has moments of greatness.

3.5/5

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Star Trek Into Darkness

12, 2013, Directed by JJ Abrams
Starring: Chris Pine, Zachary Qunito, Zoe Saldana, Benedict Cumberbatch

 

Whereas JJ Abrams’ reboot of Gene Rodenberry’s mammoth classic sci-fi took its time in introducing just which actor had been tasked with playing which famous character, whilst carefully explaining potentially complex elements (with success, it should be added,) the sequel Star Trek Into Darkness begins mid-mission, with the engine revved as far as it can go; Captain Kirk (Chris Pine) and Doc ‘Bones’ McCoy (Karl Urban) are legging it away from a pursuing alien race, as Zachary Quinto’s Spock is being lowered into a volcano to prevent eruption - as it is erupting. It's as if the crew have been enacting missions every day since we left them back in '09.

It is this noble, yet under-assuming way of storytelling that JJ Abrams can nail. Together with his writing team of Roberto Orci, Alex Kurtzman and LOST alumni Damon Lindelof, characters interact during different strands of simultaneous action so fluently that it's a wonder confusion is not induced. And let’s not forget, this can be mind-bending material. 

Into Darkness’ plot aptly revolves around Benedict Cumberbatch’s John Harrison, a terrorist who declares war on Starfleet, which forces James T. Kirk on a mission to apprehend him. It is Abrams’ casting of Britain’s man-of-the-moment Cumberbatch that best encapsulates the hugely talented filmmaker’s style; glorifying the oddball and making it cool. In John Harrison, we have a malevolent villain whose strange motives don’t make for confused questions, but chilling illogic.

The real film-winner though comes in Zachary Quinto's Spock. The lack of emotion running through his half human-half Vulcan character provides fellow crew members with many an issue, whether it be the anger Zoe Saldana’s love interest Uhura feels over his apparent willingness to die (touchingly, in order to prevent a planet’s devestation) or Kirk’s confusion at Spock’s unthankful reaction to having his life saved when it meant breaching protocol. It is these character moments that provide the film’s highlights; namely a hilarious bickering match during a life-threatening exploration that turns into a throat-choker within 30 seconds. It is Quinto’s precisely-played performance, and his core relationship with Kirk – thankfully at the forefront of these films - that ironically injects the film with the emotional investment necessary to make something of this stature work.

Time to give Chris Pine his credit; this time around, Kirk is an immensely likeable and reliable leader, despite his many confessions he has no clue what is the right thing to do… a very human trait. Simon Pegg returns in a brilliantly larger role as engineer Scotty, and although John Cho and Anton Yelchin are massively sidelined (as Sulu and Chekhov, respectively,) it is Karl Urban’s Doc Leonard ‘Bones’ McCoy who manages to steal scenes with his one metaphor too many. And yep, all Alice Eve’s addition as Dr. Carol Marcus generically adds to the fore is red herring status, promise not quite grasped and flesh.

It’s safe to say that this is one film you won’t find yourself checking your watch in. With ambitiously crafted action set-pieces, more than one attempt to blind side the audience with narrative rug-pulls and simply enjoyable fun interaction between all members of the cast, if this is Abrams' trek into darkness then sign up now for future treks to come.

Not before he visits a galaxy far far away, mind.

4/5

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Iron Man 3

12, 2013, Directed by Shane Black
Starring: Robert Downey Jr, Gwyneth Paltrow, Guy Pearce, Ben Kingsley

Robert Downey Jr is Iron Man. Having developed the self-professed billionaire philanthropic ‘mechanic’ over three films before it (Jon Favreau’s original two and Joss Whedon’s assemblage of those Avengers,) this third outing is as intricately layered as those new iron suits Tony Stark has been creating during his sleepless nights following the climactic events of Avengers Assemble. Be sure of this: Iron Man 3 - what many have been touting as the commencement of Marvel's second phase - should immediately be re-touted inexplicably as the single best Marvel flick yet. Step forward, Shane Black.

A writer/director who’s something of a pioneer of action movie scriptwriting (Lethal Weapon, The Long Kiss Goodnight,) it was the scriptwriter’s 2005 directorial debut Kiss Kiss, Bang Bang that led Downey Jr not only back into the clutches of Hollywood, but towards Stark himself. Quick-witted, punchy as hell and often hilarious, the words of Black spoken by RDJ are music to the ears. You can only imagine how funny Iron Man 3 can be.

Top rated dialogue. Check. An on-form Downey Jr. Always. Genuinely thrilling action? You betcha. Whereas Iron Man 2 dabbled with bloated action motivated by underdeveloped motives, this third venture immediately embarks upon establishing actions in an unnerving yet convenient manner: voiceover (this is a Shane Black film after all - and yep, you guessed it; it’s set at Christmas.) As the film opens, we join Stark and cast-addition Rebecca Hall’s Maya Hansen at a 1999 New Year’s Eve party in Switzerland; they are enthusiastically approached by Guy Pearce’s grimy Aldrich Killian, a scientist who expresses interest in working with them both. After Stark's snub, we're teased with the notion that this moment has since come back to haunt him. Cue present day, where a mystery-cloaked terrorist, known only as The Mandarin, continually intercepts the airwaves to spread forewarning of the horror he is about to induce upon America. This leads the way for Black to throw in more breathlessly-paced and edited mammoth sequences than is usually permitted, and ones that will leave you gasping for air.

Stark, battling with post-Avengers anxiety attacks and – for the most part – no Iron Man suit to aid him is stripped-back and as human as can be, pushing his relationship with Gwyneth Paltrow’s Pepper Potts to the limit. A stretch of the narrative sees him partnered with Ty Simpkin’s young kid and under the supervision of most, these moments would have undoubtedly swayed into snore-inducing schmaltz; these scenes light up the film. Structurally, Iron Man 3 nails it - if perhaps in need of a slight trim. Character-wise, Guy Pearce is effective (as ever) as the slime-ball scientist, whilst Ben Kingsley will prove to be the film’s talking point. Although more established here than before, Don Cheadle’s Captain James Rhodes/Iron Patriot is star of the film’s baggier scenes, and the less said about James Badge Dale’s eye-rolling villain‘s accomplice the better; motives may be explored, but they don’t completely convince.

Although Iron Man 3 may not sway the more cynical viewer, it will shoot the fan’s expectations to sunshine in being something nobody anticipated. Fit with zingers galore (one of which includes, against all the odds, Croydon) and one incredibly brave make-or-break twist, audiences should simply sit back and admire a film that is better than it had any right to be. Impressively, Stark’s fellow Avengers are pushed to the back of the memory. The ball's in your court, Thor.

4/5

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