Pandamonium

Born in China

by George Wolf

Baby Pandas here!  Yawning, sleeping, rolling down a hill!

Disney could put that on the marquee and probably score a box office winner, but they chose a more subtle approach for their latest Earth Day release: Born in China.

China? So…Pandas, then?

Oh yes, plus plenty of other baby animal cuteness to sell a very family-oriented lesson in the circle of life. And while this emphasis on the youngest of the litter extends to the film’s approach to its audience, director Chaun Lu and a team of wonderful cinematographers capture truly stunning images that take us inside habitats still unknown to most humans.

But more than perhaps any other release from DisneyNature, Born in China undercuts the brilliance of its pictures with overly simplistic, often manipulative storytelling.

Alongside the pandas, we follow a snow leopard struggling to feed her cubs, a young monkey feeling jealous of his new baby sister, and a giant herd of migrating antelope. The film’s 75-minute running time feels even more hurried through Lu’s impatience with the very world he is unveiling. Cheesy reaction shots are often spliced in for comic effect, while some dramatic sequences seem manufactured through very selective editing, such as when a baby monkey is under attack from a swooping bird of prey.

John Krasinski’s narration too often carries more annoyance than charm, due mainly to writing that is shallow and forced. The animals aren’t just given names for our benefit, they’re given imagined thoughts and motivations, blurring the actual drama of this rarely seen world. There are natural wonders here, but Born in China reduces its stars to glorified cartoon characters waiting to be marketed alongside Dory and Buzz Lightyear.

It is worth staying through the credits, as some behind-the-scenes footage gives glimpses of what it took to grab such unforgettable footage. By the time you get there, though, you’re wondering how much more powerful the pictures could have been without words getting in the way.

Verdict-3-0-Stars

 

Tripodis and Whitney Debut Film This Weekend

You may recognize the voice and know the name, but that doesn’t mean you know Dino Tripodis. The longtime Sunny 95 morning man has been involved in Columbus film for years, and you’ll get the chance to see that first hand at the Columbus International Film & Video Festival this weekend.

Tripodis produces, co-writes and co-stars in director John Whitney’s locally shot indie drama The Street Where We Live, which is set to premier at the festival on April 21. The project began at Tripodis’ home as the two men lamented the sudden cancellation of a different film project due to backer issues.

“John and I were sitting on my front porch and John said to me, ‘Screw it man, let’s just make a movie with our friends and family,’” Tripodis remembered.

Whitney added, “I was like, ‘Yeah we’ll do four people maximum cast, maybe two or three locations.’ Didn’t quite work out.”

The resulting effort evolved into a full scale feature, set in and around Columbus and boasting a cast of more than 80 actors.

“It turned into a much bigger cast with a lot more locations,” Tripodis confirmed. “But, the simple idea was of getting our friends together: the actors, cinematographers, lighting people, sound people — everybody that was good at what they do. Getting them involved, knowing that we have practically no money and we’re doing this out of the love of making film.”

“I gotta throw some props over to John,” Tripodis continued. “John’s done a lot of great work in the past, and I think a lot of people wanted to work with him because he’s a good director. I think that was part of the draw for some of these people — to work on a Whitney project.”

It’s a tough way to go about making a film, but the duo is proud and pleased with the result. The Street Where We Live tells the story of a family caught in sudden economic troubles, with potentially devastating results.

“During that time period — about two and a half years ago when we were coming up with this story — there was a lot in the news about people reaching the end of their unemployment. What do they do next?” Tripodis said. “They don’t have a job, and people are dropping off unemployment, basically falling out of the system. I thought it would be interesting if we tried to tell a slice of that kind of story.”

“It’s a story about a woman trying to keep her family together as best she can in a very difficult situation,” Whitney said. “It’s a dramedy. There are some light moments along with some poignant moments.”

And the whole package is 100 percent Columbus?

“Oh yeah,” said Tripodis. “Everybody involved was from Columbus. Everything was shot in Columbus, a large part of it shot in Clintonville. I’d say close to 80 percent of it is Clintonville, with a couple other locations on the west side and a couple shots in Arlington.”

“Gotta give props to everybody that helped us out in locations,” Tripodis continued. “Whether it be at the hardware store or the body shop or a bar or homes.”

“It was an all-volunteer army. We only wanted like-minded people to be involved in the project,” said Whitney. “In the course of a year we shot over eight or nine weekends. About once a month we’d get together for a couple of days and shoot a couple scenes – knock out 15, 18 pages, and then prep for the next month.”

“Which we will never do again,” said Tripodis. “Ever.”

Check out The Street Where We Live this Friday, April 21 as part of the Columbus International Film & Video festival. The film screens at 8:30 p.m. at the CCAD Canzani Center Screening Room.

For tickets and information, visit CCAD.edu.

Free for All

Free Fire

by Hope Madden

The first notes I took, about ten minutes into the screening for Ben Wheatley’s latest Free Fire, read like so: This is a ballsy first act.

Indeed. Co-written with his wife and frequent collaborator Amy Jump, the Seventies crime thriller wastes little time on backstory, context or exposition. None, really.

You gather that two Irishmen (Cillian Murphy, Michael Smiley) wait in a warehouse parking lot with their liaison (Brie Larson) to a gun runner. They’re always waiting for their own henchmen, as well as the gunrunner’s liaison (Armie Hammer).

I love Ben Wheatley. In 2011, he and Jump brought forth the utterly brilliant horror show Kill List, and I have waited breathlessly for every collaboration since. Free Fire included.

And while each of Wheatley’s films is decidedly different from each other, Free Fire is very different from most films altogether.

Imagine if the entire 93 minutes of Reservoir Dogs took place in that last act shootout among the pack.

The noteworthy fact about Free Fire is not that it has a ballsy first act, but that the entire film is a third act. With scarcely a word of context, we’re rolled into an empty warehouse just in time for a shootout to begin, and there we will stay until the film concludes.

It’s pretty brilliant, really. Character development happens under fire. Hammer’s “Ord” (yep, that’s his name) brings a lot of laid back comedy. Brie Larson is characteristically spot on, as is the always welcome Cillian Murphy. The two infuse characters and the proceedings with some authentic humanity.

Also working the comedy angle is Sharlto Copley – always reliable for some scenery-chewing, here working those mandibles as a South African imbecile/arms dealer once misdiagnosed as a child genius.

Jump and Wheatley rob the gang meeting of any of the slick romance or brutal gravitas usually bestowed on such events by cinema. There is a barely controlled, very funny, incredibly bloody chaos afoot here, and it is a wild and entertaining sight to behold.

Verdict-3-5-Stars

Boy Interrupted


After the Storm

by Christie Robb

There’s something about being a parent that helps you put into context and process the resentments you held about your own parents’ mistakes. You understand why they zigged when they should have zagged. Having the responsibility to create some sort of stability and comfort for a child drives home the fact that adulting is something that we make up as we go. None of us is perfect. And we all make mistakes. So, we treasure, even more, the good memories.

After the Storm is a meditation on this theme. Writer/Director Hirokazu Koreeda centers the film on Shinoda Ryôta (Hiroshi Abe), a moderately successful novelist turned private detective. Shinoda mourns the death of his father, the demise of his marriage, his separation from his adolescent son, a stalled career, and a gambling addiction.

He’s at the point where he has to decide whether to give up hope for being a late-bloomer and admit failure.

Unable to find happiness in his present life outside of a cheap high in the midst of a gambling binge, he’s eternally looking backwards at the opportunities he let slip away or dreaming about a future where he can finally buy his kid that new top-of-the line baseball glove, finish his novel, oust his ex’s new boyfriend, or win the lottery.

After the death of his father (also a gambling addict), Shinoda starts showing up at his mom’s house to help her out a little bit, to give her some spending money, and also to look for stuff to pawn. He’s months behind on child support. He’s turning down paid writing gigs to blackmail high school students. He’s spying on his ex.

One day, on a visitation with his son, Shinoda takes him over to his mom’s so the kid can visit with his grandmother and Shinoda can weasel a free meal. The weather turns bad just as Shinoda’s ex-wife (Yôko Maki) drops by for pickup. A typhoon ultimately strands the estranged family together at Shinoda’s mom’s cramped apartment. Initially awkward, the forced extended contact gives Shinoda a chance to live in the present, confront some of his flaws, and recreate a treasured moment that he shared with his father.

This isn’t a simple movie of redemption. But it’s not a melancholic tear-jerker either. It is a movie that will make you think about what kind of person you thought you might be when you grew up and weigh that against your assessment of your current character. And if you are a parent, it might make you wonder about what particular moment your kid might remember years later and wish to relive.

Verdict-3-0-Stars

First Dates Happen…

Thanks, Mom

by Christie Robb

About five minutes through my first date I realized something was going horribly wrong.

When I met the boy I was 15 years-old and trying my very best to be unconventional—which pretty much meant that I had a bad haircut, wore entirely too much eyeliner, and sported a pair of white fingerless gloves that I wore so often that the palm had permanently taken on a grayish-brownish hue. Not surprisingly, my love life to that point consisted almost entirely of one-sided crushes suffered in silence.

But this time I was determined to woman-up and ask the boy out. One day, while milling about in the auditorium lobby after a school play, I pointed the boy out to my mom.

“That one,” I said. “I’m going to ask that one.”

“What, that one with the black hair over there?” she asked.

“Yeah,” I said, suppressing a grin.

“Really?”

I turned, suspicious. “Yes. Why?”

“No reason.”

In the weeks leading up to the dance I was a wreck, unable to eat solid food, fueled almost entirely on Dr. Pepper and social anxiety adrenaline. The notes I passed the boy in between classes were damp with flop sweat. Our phone calls had pauses where I tried and failed to ask the question I imagined was hanging in the air.

Eventually I asked, but I couldn’t tell you how I did it as I think I blacked out in mortification while doing it. However, I eventually came to and it seemed like he had, in fact, agreed. So, this was happening and I needed something to wear.

At my school, in the grungy ‘90s, the Sadie Hawkins tradition involved, not only girls asking guys, but for the couples to attend dressed in drag. So not only was I going to be trying to make it through a first date without humiliating myself, I was going to have to do it while dressed as a dude. Fine.

After many trips to thrift shops, I settled on a pair of black leather pants and a small man’s tuxedo jacket with tails (and the ever present gloves, now even more dingy as a result of all the sweating). Apparently the look I was going for was Punk Oscar Wilde Madonna.

On the big day, being 15-years-old and unable to operate a car, my mom drove me over to the boy’s house and dropped me off in the driveway. After shutting the door behind me and struggling not to hyperventilate, I heard my mom’s tires squeal as she peeled out of the driveway and fishtailed around the curve of the subdivision.

She was usually so overprotective. I’d expected her to come in to meet the boy’s parents like she did with the parents of every other new friend I’d ever had.

I mentally thanked her for granting me my privacy and recognizing the woman that I was struggling to become.

Taking a big breath to calm my battered nerves, I slogged up the driveway and knocked on the door. I was starting to see spots. Breathing, I reminded myself. You gotta keep breathing.

The boy’s mom answered the door. She explained that he was still getting ready upstairs. Then she peered out into the darkness of her yard and asked if my dad had dropped me off and if he was still out there.

This seemed like an odd question, but I figured maybe she wanted to meet my parents and reassure herself that we weren’t all psychos. I shook my head, unable to say words.

His mom ushered me into the living room and sat me down on a couch and asked me if I wanted a soft drink while I waited. I nodded and looked around a little, wringing my hands together in an attempt to keep them from shaking.

Her house had a unique decorating scheme. There were a lot of tchotchkes bolted to the wall. A lot of them looked sharp and pointed. Old timey farm equipment? I wondered. Gardening tools? I gulped. Instruments of torture? In a few minutes the mom returned and handed me a cold class of soda and a photograph.

I reached out and grabbed the photograph, my gesture a reflex more than anything else. I looked at the picture. Faded and wrinkled, it featured a bunch of people wearing the autumn color palate of the ‘70s. The picture showed a youngish man feeding a woman something from his fork. I gave her a vague smile and wondered why my date’s mom was showing me this.

“Recognize anyone?” she said.

This feels weird, I thought. Is this how dates normally go? The overhead light glinted off the prong of some sharp thing on the wall. What were the consequences of getting this question wrong?

I looked closer. Ok, the woman in the picture kind of looked like the mom, but younger. Maybe this was a picture of her first date? I squinted at the man in the photo trying to see features of the boy in the youngish man’s face.

I had to admit the man did look familiar.

But not because it looked like my date. It looked…like the old pictures of my dad from my parents’ photo album.

“I used to know your dad,” my date’s mom said.

Apparently.

It’s taken me about 20 years to realize this, but I have finally decided that there was no graceful way to react to being shown this picture. At the time I stammered something inane like, “that’s nice.” Then, my date came down the stairs dressed in his mom’s little black dress, a pair of Doctor Martin’s boots, and full make up. I took a sip of my soda and glanced at his features out of my peripheral vision. Do we have the same nose? I wondered. Or is that just contouring?

It occurred to me that there was a very high probability that I had accidentally managed to ask my half-brother to a Sadie Hawkins dance.

Once we were out of sight of the house walking towards the school gym, the boy pulled aside, turned his back, and extracted a squished up soft pack of Marlboroughs from his pantyhose.
“Got one of those I can bum?” I asked.

Once I got home, my mom sniffed me and looked at me with disappointment. “Did you smoke?”
I brushed her off.

“You got something you want to tell me, Mom?”

She blushed. “I didn’t want to ruin your first date,” she said.

“You were going to let me commit incest?” I asked.

“What?” she asked. “No.”

Apparently, the night of the play she recognized the boy’s mom as her friend from back in the day—a good friend whose friendship had been strained a bit due to the fact that my mom may have stolen my dad from the boy’s mom at a holiday party sometime before 1979.

It was a fact she’d apparently decided to keep to herself, first dates generally being awkward enough on their own.

Thanks, Mom.

Shop ’til you Drop

Personal Shopper

by Hope Madden

Kristin Stewart is an acquired taste. In the last few years, though, she’s shown in a handful of indies that she has some talent. Not a great deal of range, but some definite talent.

That shone most brightly in writer/director Olivier Assayas’s 2014 film Clouds of Sils Maria.

In that film, Stewart played the put-upon personal assistant to a demanding celebrity. Assayas places Stewart in a similar position but with wildly differing themes for his latest, Personal Shopper.

Stewart plays Maureen, an introverted American in Paris. By day, Maureen darts around Paris and even trains to London to pick up fancy-schmancies for her A-lister boss to wear to this red carpet or that fashion show.

By night, though, Maureen wanders the empty rooms of her deceased twin brother Lewis’s old house. Both siblings possessed the gifts of a medium, and Maureen wants to contact Lewis.

It’s a ghost story of sorts, with a bit of a mystery thrown in for good measure, but what Personal Shopper really offers is an exploration of isolation, alienation and identity in the digital age.

Maureen is almost always almost alone. As the film opens, her friend drops her off at Lewis’s old house and Maureen asks, “You’re not staying?”

No, she is not. It’s just Maureen in this old house and her desire to connect with someone.

Likewise, Maureen periodically Skypes with her boyfriend, on some kind of IT assignment halfway across the globe. And she is always just missing the celebrity she shops for. Maureen’s solitary existence is a series of near-connections.

Assayas explores this most fully with an anxiety-inducing texting relationship with an unknown contact – a plot device that attempts to drive the themes and storyline forward. But, as is often the case with this filmmaker, ambiguities and curiosities are more important than closure or action.

Aside from an unfortunate run-in with CGI, the film barely registers as horror and impatient genre fans are likely to be disappointed. But for a lonesome comment on modern times – or for proof that Kristin Stewart can actually act – it’s not bad.

Verdict-3-0-Stars

Girl with All the Gifts

Gifted

by Hope Madden

A pensive charmer tries to raise a child prodigy on his own. Gifted offers a premise as rife with possibilities as it is weighed down by likely cliché and melodrama, and it strangely meanders somewhere between the two.

Chris Evans attempts the gruff everyman with some success, playing Uncle Frank, guardian to math genius Mary (Mckenna Grace – very solid). Against the advice of his landlord and Mary’s bestie Roberta (Octavia Spencer), Frank enrolls Mary as a first grader in a local public school.

There Mary wows her good natured teacher (Jenny Slate), and draws the attention of her grandmother (Lindsay Duncan), who’s been MIA since Mary’s mother – another family genius – died when the girl was just a babe.

What’s the best way to care for a gifted child? This is the conundrum at the heart of the film. In rooting out the answer, writer Tom Flynn wisely keeps Mary at the center of the story. She’s an actual character, not a prop for evangelizing one course of action over another.

Luckily, Grace is up to the task, and her chemistry with Evans feels genuine enough to make you invest in their story.

Perhaps more important is Duncan, a formidable talent who elevates a tough role. She, too, shares a warm chemistry with Evans, and it’s that kind of unexpected character layering that helps Gifted transcend its overcooked family dramedy leanings.

On occasion, Gifted is Little Man Tate without the pathos. At other times, it’s Good Will Hunting for first graders.

Strong performances help the film navigate sentimental trappings, but Flynn’s script veers off in too many underdeveloped and downright needless directions, and director Marc Webb ((500) Days of Summer) can’t find a tone.

Gifted is warm without being too sweet. Though it knows the answer to the question it’s asking, the film resists oversimplification and never stoops to pitting one-dimensional characters against each other in service of a sermon.

Though the final decision about what’s best for Mary is really never in doubt, in getting to that revelation, the film acknowledges nuance in the choice.

That’s not to say Gifted avoids cliché altogether, or that it embraces understatement. It does not – on either count. But it does present an intriguing dilemma, populates its story with thoughtful, almost realistic characters, and refuses to condescend to its audience or its characters.

Verdict-3-0-Stars

Fright Club: Rituals

Everybody has their rituals, and that’s all fine and dandy. But we aren’t looking for fine and dandy, are we? Hell no – we’re looking for the kind of rituals that generally includes goats heads and/or black candles and/or virgins and/or special meat preparation.

Where will we find these? In some great horror movies. Check it.

5. Kill List (2011)

Never has the line “Thank you” had a weirder effect than in the genre bending adventure Kill List.

Hitman Jay (a volcanic Neil Maskell) is wary to take another job after the botched Kiev assignment, but his bank account is empty and his wife Shel (an also eruptive MyAnna Buring) has become vocally impatient about carrying the financial load.

Without ever losing that gritty, indie sensibility, Ben Wheatley’s fascinating film begins a slide in Act 2 from crime drama toward macabre thriller. You spend the balance of the film’s brisk 95 minutes actively puzzling out clues, ambiguities and oddities.

Everything builds, unsettlingly, to a climactic ritual you won’t see coming.

For those looking for blood and guts and bullets, Kill List will only partially satisfy and may bewilder by the end. But audiences seeking a finely crafted, unusual horror film may find themselves saying thank you.

4. The Wicker Man (1973)

In the early Seventies, Robin Hardy created a film that fed on the period’s hippie- versus-straight hysteria. Uptight Brit constable Sgt. Howie (Edward Woodward) flies to the private island Summerisle, investigating charges of a missing child. His sleuthing leads him into a pagan world incompatible with his sternly Christian point of view.

The deftly crafted moral ambiguity of the picture keeps the audience off kilter. Surely we aren’t to root for these heathens, with their nudey business right out in the open? But how can we side with the self-righteous prig Howie?

But maybe Howie’s playing right into something he doesn’t understand – and what would the people of Summerisle do if he didn’t play along? The ritual would be blown!

Hardy and his cast have wicked fun with Anthony Shaffer’s sly screenplay, no one more so than the ever-glorious Christopher Lee. Oh, that saucy baritone!

The film is hardly a horror movie at all –more of a subversive comedy of sorts – until the final reel or so. Starting with the creepy animal masks (that would become pretty popular in the genre a few decades later), then the parade and the finale, things take quite a creepy turn.

3. We Are What We Are (2010)

In a quiet opening sequence, a man dies in a mall. This is a family patriarch and his passing leaves the desperately poor family in shambles. An internal power struggle begins to determine the member most suited to take over as the head of the household, and therefore, there is some conflict and competition – however reluctant – over who will handle the principal task of the patriarch: that of putting meat on the table.

We’re never privy to the particulars – giving the whole affair a feel of authenticity – but adding to the family’s crisis is the impending Ritual, which apparently involves a deadline and some specific meat preparations.

Grau’s approach is so subtle, so honest, that it’s easy to forget you’re watching a horror film. Indeed, were this family fighting to survive on a more traditional level, this film would simply be a fine piece of social realism focused on Mexico City’s enormous population in poverty. But it’s more than that. Sure, the cannibalism is simply an extreme metaphor, but it’s so beautifully thought out and executed!

https://www.youtube.com/watch?v=EBkNz3_pzsw

2. Martyrs (2008)

This is one you may need to prepare yourself for. Equal parts orphanage ghost story, suburban revenge fantasy, and medical experimentation horror flick, the whole of Martyrs is a brutal tale that is hard to watch, hard to turn away from, and worth the effort.

Mining the heartbreaking loneliness of abandoned, damaged children, the film follows the profound relationship between Lucie (Mylene Jampanoi) and the only friend she will ever have, an undeterrably loving Anna (Morjana Alaoui).

Constantly subverting expectations, including those immediately felt for Anna’s love, writer/director Pascal Laugier makes a series of sharp turns, but he throws unforgettable images at you periodically, and your affection for the leads keeps you breathlessly engaged.

The third act offers the most abrupt change of course as well as tone. Here is where the ritual begins – it began long ago, but the subject wasn’t quite right. Though it feels like an abrupt shift, it ends up a gruesome but inevitable conclusion.

https://www.youtube.com/watch?v=Jbct9qWBSME

1. The Exorcist (1973)

For evocative, nerve jangling, demonic horror, you will not find better than The Exorcist.

Slow-moving, richly textured, gorgeously and thoughtfully framed, The Exorcist follows a very black and white, good versus evil conflict: Father Merrin V Satan for the soul of an innocent child.

But thanks to an intricate and nuanced screenplay adapted by William Peter Blatty from his own novel, the film boasts any number of flawed characters struggling to find faith and to do what’s right in this situation.

So was Friedkin, the director who balanced every scene to expose its divinity and warts, and to quietly build tension. The titular ritual was simply the climax of a film filled with rituals, big and small, Catholic and non-religious, that we use to keep us clean and safe.

Rocket Men

Mission Control: The Unsung Heroes of Apollo

by George Wolf

Just in the last few months, the smash movie Hidden Figures – plus the death of American hero John Glenn – brought renewed attention to the birth of the U.S. space program. Director David Fairhead moves the spotlight a few years ahead with Mission Control: The Unsung Heroes of Apollo, a fitting salute to both teamwork and an amazing job well done.

And don’t forget those splashdown parties. “We drank a lot of beer.”

After JFK’s “moon promise” of 1961, Project Apollo took the space race baton from Mercury, working overtime to stay on the President’s schedule and get a man to the moon and back before the end of the decade.

Fairhead, in his feature documentary debut, makes the most of some stellar archival footage, often cutting from present-day interviews with mission controllers to decades-old looks at their younger selves moving through an ever-present cigarette haze to get astronauts to the moon.

I’m telling’ ya, these guys could smoke.

And they could work. Despite the eventual gratification of success, the strain on family life became so great that at least one crew member now admits that if given the choice to do it all again, “I wouldn’t.”

As enthralling as the historical footage may be, it’s an equal treat to hear the behind-the-scenes story from the men themselves, and Fairhead lets us glimpse the unique personalities that made up an incredible team. We see men committed to the Apollo mantra of “tough and competent,” and we see hard-nosed flight directors who knew when to step back and let people do their jobs.

In its entirety, the Apollo mission saw tragedy, triumph, and lives in the balance, persevering  through situations that were “complicated as hell back then.” Mission Control can’t help but get a bit wonky with the space geekiness, but by the time one crew member gets choked up at the pride and amazement his memories still bring, it’s pretty hard to blame him.

Verdict-3-5-Stars

 

 

Fate of the Furiosa

The Fate of the Furious

by Matt Weiner

Maybe it was when it rained cars down on 7th Avenue in New York. Maybe it was the shootout on a plane with a baby. Or maybe—just maybe—it was when the gang attacked a nuclear submarine with sports cars gliding across a tundra.

However naturally each absurd setup manages to segue within the operatic universe of the franchise, the totality of The Fate of the Furious finally answers the question: how much is too much Fast and the Furious?

In the eighth installment of the series, the gang goes up against one of their own: Dom Toretto (Vin Diesel) breaks bad to abet a criminal hacker (Charlize Theron) in mass genocide, and only Dom’s makeshift family of gearheads and misfits can save the day.

(If you need to review how Dom’s crew went from outlaw street racers to extralegal super-spies over the last 15 years, there’s Wikipedia—or there’s the fact that it doesn’t make sense and it doesn’t matter, you’ve either bought into these movies by now or you haven’t.)

To help take down Dom, the gang has to work together with a former foe, Deckard Shaw (Jason Statham). It’s not an original twist, but the chemistry between Statham and Dwayne Johnson is the most pitch-perfect sendup of action movie homoeroticism since Hot Fuzz—maybe more so, given how truly gifted the two men are at contrasting their action figure physiques with deadpan comedy.

If the film has one glaring weak spot besides a wanton disregard for physics, it’s that Cipher is a too-aptly-named villain. Charlize Theron does her best to inject some genuine fear and malice into the character, but all the effort in the world can’t change a flimsy backstory and the fact that she’s basically just there as the catalyst for Dom vs. Everyone Else.

When the film sticks to that hook, director F. Gary Gray (Straight Outta Compton. The Italian Job) delightfully serves up the best and worst of the franchise. There’s more excess, more teenage boy wish fulfillment, more glib treatment of women, more stereotypical wisecracking—and since more is more, there’s over two hours of it.

Which brings up the question: has the series gone too far? The Fate of the Furious without a doubt sacrifices some of the franchise’s ramshackle charm in order to deliver a smorgasbord of winking action comedy.

But it would be unwise to accuse this franchise of jumping the shark. Really, it would be unwise to mention sharks anywhere near these movies. If the crew ever does come across a shark, they’re just as likely to punch it in the face, strap sticks of dynamite to it, launch it at some larger, angrier target and keep moving without missing a beat. Isn’t it comforting to have a family you can rely on?

Verdict-3-5-Stars

 

 

Hope Madden and George Wolf … get it?