'Fast & Furious Presents: Hobbs & Shaw' Review

Synopsis: Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.

Runtime: 135 minutes

MPAA Rating: PG-13 (for prolonged sequences of action and violence, suggestive material, and some strong language)

Who should see it? Fans of Dwayne "The Rock" Johnson, Jason Statham, and the Fast & Furious franchise.

Branching off from the central Fast & Furious series, Fast & Furious Presents: Hobbs & Shaw is the franchise's first spin-off. As each Fast & Furious entry drove further away from the series' starting point of street racing and small-time heists, real-world physics were chucked out the window. To no-one's surprise, Hobbs & Shaw continues that trend of escalated absurdity. If you bother scrutinizing the logic of Hobbs & Shaw, you will be miserable for two hours and fifteen minutes. To best enjoy this ride, you should suspend disbelief and mindlessly munch on popcorn.

Considering I haven't been impressed by recent projects involving "The Rock" and Statham, I approached Hobbs & Shaw with appropriate skepticism. The only Fast & Furious films I've really appreciated are the fifth, sixth, and seventh installments. I felt the franchise finally found its stride with Fast Five but grew concerned the franchise ran out of fuel when I didn't take to The Fate of the Furious. Directed by David Leitch and featuring a screenplay from Chris Morgan and Drew Pearce, Hobbs & Shaw rides the thin line between overbearing and entertaining. Surprisingly, this bombastic summer blockbuster won me over with the charm of its cast, technical merits, and outlandish high octane action.

Leitch's extensive background as a stunt coordinator and experience helming Atomic Blonde, Deadpool 2, and John Wick serves him well here. Leitch embraces the lunacy of the franchise's physics-defying spectacle, pairing it with the visceral intensity and visual flair frequently found in his filmography. I was occasionally disoriented by the use of quick cuts and shaky cam, but the action sequences are easy to interpret and impressively absurd for the most part. Carrying over from Leitch's previous projects, cinematographer Jonathan Sela lends an attractive aesthetic to the affair with stylish lighting and quality camerawork. I expected the entire movie to look like concrete, so I was delighted to see some stunning shots amidst the ludicrous action. Unfortunately, the film failed to really surprise me otherwise.

Regarding plot, Hobbs & Shaw is about as predictable as it gets. The buddy spy action-comedy plays out like most other flicks of its ilk, and the dialogue is equally ridiculous as the action. In Fast & Furious tradition, Hobbs & Shaw even champions the franchise's principle focus on family. Does it get any deeper than hearing that word spoken out loud from time-to-time? Not particularly, but when has it ever? Hobbs & Shaw is exactly as advertised, an over-the-top action movie with heart and plenty of cheesy one-liners. Exactly what you'd expect from a summer blockbuster.

Dwayne Johnson and Jason Statham reprise their respective roles of Luke Hobbs and Deckard Shaw to headline the first Fast & Furious off-shoot. The baseline charisma and star power associated with Johnson and Statham are probably enough to garner most viewer's interest, and the duo measures up to that presumption. The two actors possess the macho physicality as well as an engaging rapport since their back-and-forth banter is undoubtedly a highlight. They bicker endlessly, and while not every joke lands, those which do are hysterical. The insults, which felt primarily improvised, effectively critique the other's general Hollywood persona without seeming too self-aware.

However, it's Vanessa Kirby, the breakout star of Mission: Impossible - Fallout, who emerges as a scene-stealer. Kirby's Hattie Shaw rounds out the grouping of Johnson and Statham as an intriguing third-party and capable femme fatale. Her fight scenes were particularly impressive, as they were in Fallout, so Kirby is definitely cut out for action. She's reportedly up for the role of Catwoman in Matt Reeve's The Batman, which I'd LOVE to see pan out. 

Elsewhere, Eiza González is prominently featured in the marketing material but merely relegated to a single scene. She's serviceable in the capacity used but didn't really have much opportunity to leave a lasting impression. Other high-profile actors appear in a series of uncredited surprise cameos that are funny, but somewhat distracting. It's also worth noting that there are three comedic post-credit scenes and you may be fortunate enough to see a teaser for Christopher Nolan's next film Tenet beforehand. Don't expect teases towards a sequel or you may be disappointed.

Last but not least, Idris Elba's cybernetic terrorist Brixton was a formidable foe. Elba's screen presence coupled with the character's resilience compensated for the script's shortcoming characterization while providing a worthwhile villain.

Fast & Furious Presents: Hobbs & Shaw puts the pedal to the mettle as a prime example of an entertaining, over-the-top action-comedy. It won't be in contention for any awards, and you'll likely forget what happens soon afterward, but it's an ideal movie to close out the summer moviegoing season. Maybe this series still has gas in the tank after all.

Film Assessment: B-

'Deadpool 2' Review

Deadpool 2 follows a disfigured cafeteria chef who struggles to fulfill his dream of becoming Mayberry’s hottest bartender while also learning to cope with his lost sense of taste after surviving a near fatal bovine attack. Searching to regain his spice for life, as well as a flux capacitor, Wade must battle ninjas, the yakuza, and a pack of sexually aggressive canines as he journeys around the world to discover the importance of family, friendship, and flavor - finding a new taste for adventure and earning the coveted coffee mug title of World’s Best Lover.

You may now be thinking to yourself "What in the world did I just read?" Well, you've now had the genuine pleasure of reading the first official synopsis released for Deadpool 2. Since this is a spoiler-free review and Deadpool is such an unconventional character, I figured it would be best to include an interesting synopsis instead of describing the actual plot because there are a surprising amount of spoilers I'm going to have to tip-toe around for the duration of this review.

I've been fairly excited for Deadpool 2 for quite some time since I enjoyed the first film so much, but my anticipation erred on the side of caution and waned as time went on for a few reasons. First of all, the marketing behind the first film felt very unique and inventive which is something I think Deadpool 2's marketing lacked till about two weeks ago. There were occasionally some creative teasers, but none of it was quite on the level of what 20th Century Fox's marketing department cooked up for the first Deadpool. I began to grow worried that Deadpool 2 might also lack the creative spark that made the first film such an unexpected and unprecedented success. Adding to this concern was the fact that Tim Miller cited creative differences and left the project, resulting in David Leitch taking the franchise's reigns.

Leitch's previous directorial efforts have been hit-or-miss for me as I found Atomic Blonde to simply be an okay espionage flick with a few great action sequences while John Wick (which Leitch co-directed) is one of my favorite action films to be released in recent years. Considering Leitch's extensive background as a stunt coordinator, I figured Deadpool 2 might at least be able to up the ante in regards to action sequences, but I wasn't sure if Leitch would have a good reign on the humor, tone, and story since he hasn't quite dealt with a film of this nature previously. 

Fortunately, Leitch delivered as I found Deadpool 2 to be even more enjoyable than the first film thanks to entertaining, well-choreographed action set-pieces, a surprisingly heartfelt story, and a huge dosage of meta-humor poking fun at the current state of comic-book movies and a great deal of other things. For all intensive purposes, Deadpool 2 is a fitting example of the conventional sequel which aims to be bigger and better than its predecessor. 

Just how Deadpool informed audiences right away that it would also be a touching love story, the titular Merc with a Mouth lets you know right out of the gate that Deadpool 2 is an endearing family film (although not in the traditional sense). While I certainly don't think the film is suitable for families because of the hard-R rating, it's undeniably about family. Now with those semantics out of the way, it's worth noting that star Ryan Reynolds received a writing credit alongside the Deadpool screenwriting duo of Rhett Reese and Paul Wernick. If I were to guess, I'd say Reynolds had a huge contribution to not only the humor, but the story as well because he's also credited as a producer. Reynolds has really taken ownership of this character recently and seems to be very passionate about the direction of this franchise so I can only imagine he wanted a larger role in shaping the character's future wherever possible.

Anyways, as I alluded to earlier, fans of the first film will walk away with a lot to love, as Deadpool 2 doubles down on everything which worked previously while adding new characters and story elements to keep things fresh. Unfortunately, issues occasionally arise as the film's story can feel a bit scatterbrained at times. While this is certainly true to the character, it would have been nice if these particular story-beats had been polished a bit more. I also could have used a little more development to flesh out a few members of the supporting cast (namely Domino and Cable). 

Another thing that was very bothersome was that there really wasn't any excuse for the production to not have replaced T.J. Miller in the film as he's had some very negative publicity lately involving sexual assault and a fake bomb threat. He has a relatively minor role in the grand scheme of things and could have been easily swapped out ala Kevin Spacey in All the Money in the World. They could have cast Christopher Plummer and had Deadpool reference it in a quick fourth wall break to top it all off, but alas, that's not what happened. It's at least reassuring to hear Reynolds say Miller won't be involved in the franchise's future so hopefully his character will be left out or recast for X-Force or Deadpool 3.

On a much more positive note, Ryan Reynolds is once again exceptional in the role of Wade Wilson. Reynolds brings the character to life in such a unique way that I'm not sure I can envision anyone else  playing Deadpool for the time being. Reynolds' brand of humor and line delivery is simply well-suited to the Merc's exploits and I can't wait to see future onscreen adventures involving this current incarnation. Following his lead, returning characters from the first film include Colossus, Negasonic Teenage Warhead, Vanessa, and Dopinder who each are proficiently-portrayed by Stefan Kapicic, Brianna Hildebrand, Morena Baccarin, and Karan Soni respectively. In the realm of franchise newcomers, there are lots of additions to the cast, but three stand-outs in particular who I believe to be well-deserving of a mention. 

Of all the X-Force members introduced in Deadpool 2, Zazie Beetz's Domino is easily the most memorable for an abundance of reasons I can't quite get into right now. When all is said-and-done though, Beetz makes for a cool supporting presence and the I found the cinematic depiction of her mutant ability to be quite interesting. 

Josh Brolin killed it as Thanos in Avengers: Infinity War, so naturally I had high hopes he'd have the same luck as Cable. While Cable's character wasn't fleshed out as much as I'd have liked to see, Brolin really leans into the rough and gruff nature of the character to stand out as a formidable foe for Deadpool to face. 

Last, but certainly not least, I must commend Julian Dennison on another job well-done. Between this and Hunt for the Wilderpeople, I've gotta say that this kid has a bright comedic career in Hollywood ahead of him. Dennison displays some interesting range as Russell, putting his comedic chops and more dramatic acting abilities to great use. 

On the whole, Deadpool 2 is one of the few comic-book movie sequels that sticks the superhero landing as a second entry that's irrefutably bigger and better than the first in just about every regard. If you can stomach the raunchiness, Deadpool 2 is a solid sequel which is well-worth watching and surprising in all the right ways. Also, keep your eyes and ears peeled for plenty of cameos and references if you're a big fan of any ongoing or extinct comic-book film franchises. Oh, and be sure to stay in your seat afterwards for what may just be the greatest mid-credit sequence I've ever seen (split into two scenes). I can guarantee that you'll regret missing it if you run to the restroom instead. 

Film Assessment: A-

'Atomic Blonde' Review

Atomic Blonde pits audiences in the thick of the Cold War. Pre-eminent MI-6 agent Lorraine Broughton has been sent into Berlin to work alongside ambiguous agent David Percival and retrieve a list containing classified intel on several secret agents that could compromise them all and potentially prolong the lasting international anxiety.

Atomic Blonde is directed by skilled stunt-coordinator and stuntman David Leitch with Kurt Johnstad spearheading the screenplay based on Antony Johnson and Sam Hart's graphic novel The Coldest City. Leitch has worked on many renowned action films over-the-years including the likes of The Matrix trilogy, The Bourne Ultimatum, and The Bourne Legacy but he's probably most well-known for co-directing John Wick alongside Chad Stahelski. Earlier this year, Stahelski struck out on his own to direct John Wick: Chapter 2 solo, but now it's Leitch's turn.

Leitch is currently set to direct next year's Deadpool 2, which is deep in the production process at this point (but you never know what could happen with all the director drama as-of-late), and after watching Atomic Blonde I'm fairly confident he'll be able to handle things on his own there. In Atomic Blonde, Leitch turns up the stylistic flourish that propelled John Wick to prominence but the film overall winds up feeling more akin to something like Hardcore Henry, another unique European-driven action film that couldn't help but succumb to the tropes of the genre.

Lorraine may be British, but she's definitely more Bourne than Bond. Leitch takes his years of stunt experience and utilizes it to offer Theron an unwieldy and unrestrained visceral fighting style that's simply thrilling to watch. It's such a relief to be able to see what's happening onscreen in an action movie because much of the last ten years has been dominated by gratuitous shaky-cam. However, the con to this was that Focus Features took note and plastered these sequences all over the marketing. I didn't ever go out of my way to watch an Atomic Blonde trailer. I saw the marketing material for the film almost exclusively in theaters and maybe once or twice as an ad in front of a YouTube video but while watching the film, I felt as though I'd seen nearly all the action already.

There was one brutal, bare-knuckles fisticuff in a staircase that I had not already seen a glimpse of that was so intense, even I felt a little winded when it was all over. As you can probably tell by now, Atomic Blonde rests its hat on the extraordinary execution of its action. I kept hoping something would rise to challenge the action, but nothing ever did.

Atomic Blonde's story is nothing special. I can guarantee you've seen this premise at least a dozen times before. The idea of a list leaking that could jeopardize an entire agency is nothing new and I'd be totally fine with that if the surrounding circumstances were more interesting. Everything about the plotting of Atomic Blonde just felt like every other generic action movie, the only difference being I had no idea why anything happened when it was all over.

In a spy movie you expect a number of double-crosses and surprises, but it was unfathomable to me how the motivations fueling all these characters were incredibly unexplainable. When the movie was over, the friend who joined me at the screening asked if I understood exactly what happened at the end and I was unable to provide an answer. I realized I had absolutely no idea because none of the plotting made a lick-of-sense. Information will inevitably be withheld from you during a spy film, but even with the additional information I couldn't quite piece everything together.

I think even poor plotting can be excused if you still manage to invest yourself in the characters, but I even had difficulty doing that. Atomic Blonde puts an outstanding amount of effort into make the viewer think Lorraine is cool by having her confidently smoking cigarettes, drinking vodka, and kicking butt like nobody's business. Unfortunately, none of that really worked for me as Charlize Theron was as insipid as Scarlett Johansson in Lucy. Theron's performance isn't bad per-say. It's simply soulless. In trying to be cool, Theron played things straight but to such an absurd degree that Lorraine lacks a personality all together. In comparing Lorraine to Johansson's other infamous agent Black Widow, you'll find shades of a complex past buried within both individuals but only Romanov exhibits a shred of humanity. 

Sofia Boutella strides in to redeem herself from The Mummy (2017) and add further credence that her scene-stealing turn in Kingsman: The Secret Service was no fluke. Boutella's French agent's an interesting side character who doesn't have quite enough screen time to fully flesh her character out, but she serves her narrative purpose well.

In the meantime, James McAvoy runs away with another outstanding supporting turn as David Percival. Percival's an unpredictable kooky agent that held his screen presence well opposite other seasoned performers and McAvoy proves his powerful performances aren't coming to an end anytime soon.  

 

Filling out the cast, John Goodman and Toby Jones fulfill the need for governmental entities and Eddie Marsan's Spyglass was a surprising standout. One last interesting thing to note is Atomic Blonde's unabashed use of '80s hits to fill the atmosphere. It's not exactly integral to the story like the soundtracks fueling Baby Driver or Guardians of the Galaxy Vol. 2, but it's a fun mix nonetheless.

In summary, I think you can wait to catch Atomic Blonde on cable or home media and your money might be best spent seeing some of the diverse selections that have emerged in the past month such as Baby Driver, The Big Sick, Spider-Man: Homecoming, War for the Planet of the Apes, or Dunkirk. Atomic Blonde, much like its proverbial heroine, boasts some slick style but can't carry the necessary, underlying substance. The film reminded me of Bond's favorite alcoholic beverage once it was over; shaken around quite a bit, but not particularly stirring.

Film Assessment: C+

Throwback Thursday Review: 'John Wick'

This week I'm reviewing John Wick to tie-in with John Wick: Chapter 2, which I've actually seen and should have review up for fairly soon following the publication of this review. Reviews you can expect for the remainder of February are Throwback Thursday Reviews for Spider-Man and Pirates of the Caribbean: The Curse of the Black Pearl and reviews over new releases The LEGO Batman Movie, John Wick: Chapter 2, The Great Wall, A Cure for Wellness, and Get Out.

'John Wick' Review

After the sudden loss of his wife, John Wick receives a puppy named Daisy as his final gift from her. Following an encounter with the Russian mob in his slick 1969 Mustang, the thugs break into his house late at night, beat him, kill his dog, and steal his car. John Wick then tells the revenge tale of an ex-assassin pulled back into his past and hunting down those responsible.

John Wick was a film I remember catching at home rather than in the theaters and being completely blown away by the stunt work and action sequences. Unsurprisingly, it held up remarkably well. Stunt-coordinators Chad Stahelski and David Leitch stepped up to co-direct John Wick and the duo manage to string together an excellent revenge thriller. But John Wick isn't just another indispensable action flick.

The visual aesthetic to John Wick balances a subdued palette for John's normal affairs but an extravagant colorful hue to the twisted criminal world. The two best action sequences are the club and home invasion sequences that heavily feature stunt choreography called "gun-fu", a style of sophisticated close-quarters combat combining martial arts and firearms. The fight choreography is a brutal ballet, it's gruesome yet maintains a semblance of grace in how it's carried out. The "gun-fu" is absolutely incredible and the fact Keanu Reeves remains committed enough to perform a good chunk of the stunts himself makes it go the extra mile and feel all the more real. 

Derek Kolstad penned the screenplay and one of his greatest achievements is the underbelly world of assassins he manages to build throughout the film. There's everything from a laundromat service of sorts that will dispose of dead bodies and clean up the mess in exchange for a handsome fee to the Continental Hotel for these hitmen where no outside business (conflict) is allowed at risk of being excommunicated or even killed.

Kolstad establishes this rich world that screams for further exploration in sequels or spin-offs but Kolstad also wisely keeps some specifics under wraps because it only makes sense that these mercenaries would be secretive about their lives. Kolstad also sets up an excellent source of motivation to get Wick back into this way of life that's simultaenously logically and emotionally grounded. The narrative's relatively simple but Kolstad provides an interesting angle for what could have been a generic revenge story.

The cast assembled for John Wick are exceptionally talented and help to elevate proceedings regardless of how complex the characters they're portraying appear to be. Keanu Reeves' performance remains a career best as Reeves channels both an unhinged violence and vulnerability to John Wick. Reeves is committed in every regard and makes an epic action hero that's not purely a reckless unstoppable force but one with a human soul.

Willem Dafoe's a charming marksman, Adrianne Palicki plays the femme fatale, Alfie Allen portrays an overconfident crime prince, and Michael Nyqvust chews the scenery as Russian mafia head. Meanwhile the remaining underworld is bristling fun supporting roles for Ian McShane, Clarke Peters, Lance Reddick, and John Leguizamo.

In summary, John Wick remains to be an entertaining action escapade truly deserving of future installments.

Film Assessment: A-