Directed by:
James WanComposer:
Brian TylerCast:
Vin Diesel, Paul Walker, Jason Statham, Michelle Rodriguez, Jordana Brewster, Tyrese Gibson, Ludacris, Dwayne Johnson, Kurt Russell, Tony Jaa, Djimon Hounsou (more)VOD (5)
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Vengeance hits home in Fast & Furious 7 as Vin Diesel, Paul Walker and Dwayne Johnson lead an all-star cast across the globe in their most gravity-defying and emotional adventure yet. Targeted by a cold-blooded black ops assassin with a score to settle (Jason Statham), their only hope is to get behind the wheel again and secure an ingenious prototype tracking device. Facing their greatest threat yet in places as far away as Abu Dhabi and as familiar as the Los Angeles streets they call home, the crew must come together once again as a team, and as a family, to protect their own. (Universal Pictures UK)
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Reviews (13)
You would not resist falling in love with it if the movie had been more (much more) self-conscious as it was in the Rock or Statham scenes. In this way it is an unprecedented “over the guilty pleasure top" soap opera action movie with over-the top story line, which despite having an ultimate testosterone cast is lame, because instead of these guys punching each other all the time, the computers animating their CGI doubles in flying cars in many different ways are applied. And it is captures by a shaking camera, where the overall confusing chaos is multiplied by the epilepsy-inducing editing. Last time we saw such a waste of potential/cast was in... Well, actually sixth Fast and Furious. PS: Diesel will say "We are/I was a family" in different ways perhaps even more often than "I'm Groot" in the Guardians of the Galaxy.
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The nicest thing is that after the previous airplane games and intercity jumps, the seventh installment appears more believable most of the time. Not that cars with parachutes or crossing from one skyscraper to another are particularly realistic, but there is a certain spark of greater liveliness in them. Perhaps it's thanks to the 4D experience, which allowed me to personally experience all the falls and twists. Perhaps it is the merit of saying goodbye to Paul Walker, which works excellently in an emotional way. However, the most positive impressions are left by the domestic finale, which surpasses the already breathtaking passages from the Caucasus and the Emirates with its diverse involvement of all participants. The method of crossing, the Rock's idea for healing fractures, and above all, the showdown between Vin Diesel and Jason Statham are attractions pumped with adrenaline, brought to the level of a perfect experience. For the kind of movies whose mistakes you can only spot a few hours after your heart rate subsides, this group still has no competition.
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The only franchise that goes up in quality from episode to episode, not down. This is a Band-Aid for Expendables 3 for me, because the number of familiar faces gathered here is mind-boggling. The 250 million budget is evident in every shot, which are goosebumps-inducing thanks to James Wan's craftsmanship. The highlights for me are definitely the car jump through the Abu Dhabi building and the car drop from the plane, these are scenes we haven't had the chance to see anywhere else yet. Of course, the well shot fights were a delight, surprisingly I liked Tony Jaa vs Paul Walker and Ronda Rousey vs Michelle Rodríguez fights the most (I've never seen a better female fight in my life), but even Jason Statham and The Rock and Vin Diesel gave each other some decent punches. There's also great humour provided by Tyrese Gibson, who is excellent as always, and there's no shortage of hot asses, spicy cars and decent music. My only complaint is the finale, which doesn't come as much of a surprise given the events throughout the film. Not counting Asia, this is the best American action film available. The farewell to Paul Walker was cute. 95%.
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Rich parents lacking good sense bought their model child all the toys he asked for. When he had them in hand, without any good sense, he started to smash around with them. The cars were flying, the good guys were in them too, the bad ones were too much for them, and they were all chattering just as a little child would think. At the beginning, you first find it cute, then annoying, and if it weren't for the few truly crucial moments (like when Alpha and the main villain punched each other, or when the Deus ex machina appears with a really big rotary in his hand), you probably give up on it. After the noisy and senseless rampage, all that is left on the living room floor is a big mess, which no one seems o have much interest in cleaning up.
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“Ohana means family. Family means nobody gets left behind.” It’s hard to say whether the screenwriters of this soap-operatic action franchise are fans of Lilo & Stitch, but they definitely transformed that film’s motto into the defining principle of the Fast & Furious series. In the seventh instalment about family, not only does absolutely every character on the franchise team yammer on about it, but so does the main antagonist, which opens up endless possibilities for more and more sequels in the future. Furthermore, we can apply the quote to the way in which the series bid farewell to the late Paul Walker, which goes against the expectations of supposedly seasoned viewers. Otherwise, replacement of the director brought forth very few changes (which raises the question of who serves as the showrunner in major film series) and instead rather intensified existing tendencies. Though the film has officially merged with the Forza Motorsport video-game brand, it is still firmly rooted in GTA. In addition to the general over-the-top comic-book stylisation, this is apparent mainly in the narrative, which this time is constructed according to an adventure formula whereby in order to achieve a particular goal, it is necessary to obtain the means to do so, which are connected with the fulfilment of a number of secondary tasks. The alternation of action scenes and melodrama continues in Furious 7 and again the non-action scenes serve as a radical retarder in every sense of the word. Nevertheless, the fountain of blather about family has already taken on an utterly absurd dimension, especially in combination with the ridiculously ripped Diesel and cartoonishly executed scenes. The formulaic nature of the film goes beyond the boundary of insipid soap operas into the realm of hysterical camp, which, however, adds to its fun factor. After all, how seriously Furious 7 should be taken is laid bare in the opening scene, which reliably divides the audience into those who will focus on realism, logic, causality and other things that are out of place here, and those who are in tune with the film’s mix of outlandishly overwrought pathos, kitsch and delirious ostentation. The previous instalment in the series had already gone beyond Bond-esque spectacle to surreal bombast in terms of the conceptualisation and stylisation of action scenes, and that trend continues here. Unfortunately, that includes the desperate climax swimming in CGI. Luckily, we can understand it as material fatigue following much more imaginative previous scenes, both in terms of the action itself and the shooting thereof. The fetishistic details of shifting gears and stomping on the pedals were transformed into a spectacular sequence of impressions with a throbbing cadence of a few windows. This time, the camera remains stable in the details and, conversely, takes greater risks in larger shots, which is beneficial to the dynamics of the sequences. But on the other hand, as has already been mentioned, the change of director did not change the direction of the series. There is no ground-breaking remodelling as in the fifth instalment; instead, only the formula established by that film is varied and a few nuances are added. Whereas comic-book movies strive for some overlaps and emotional swings, Fast & Furious is pure escapist popcorn that is entertaining as both a silly action flick and campy melodrama, and imminently forgettable.
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