The Fast and the Furious series has undergone profound changes since 2001, when the franchise launched a movie about car enthusiasts in LA who fund their passion for illegal street racing by promoting DVD players. (It was a different era.) The original movie wasn't exactly indie, but nothing to suggest it would eventually turn into a global action franchise that digs Dom Torre (Vin Diesel) and its ever-expanding team against international terrorists and other vicious enemies.
The series has changed genres several times, but at this point it doesn't look like anything like the X-Men (not the heavy-duty movie mutants as much as the X-Men of long-running comics in which colored characters with specialized skills unite around a common cause and save the world). Members of the group float in and out, supposedly dead teammates sometimes find themselves simply having amnesia for a little while, and as they travel through a hostile world that doesn't understand them, the charismatic bald leader holds them together, emphasizing that they have become a makeshift family.
To continue the analogy, this will make The Fast and the Furious: Hobbs & Shaw the franchise equivalent of Kitty Pryde and Wolverine a spinoff project with two teammates and unique chemistry set off for a side move. Hobbs & Shows renamed DSS Agent Luke Hobbs (Dwayne Johnson) to Descartes Show (Jason Statham), a British Black Weapons Agent, turned into a bad guy, turned into a good guy (more or less) ), who was previously admitted to the F&F pen despite killing his beloved team member Han. (However, he rescues Dom's baby, which obviously makes things even. The series has a weird sense of morality.) Of course, that doesn't mean Shaw and Hobbes like each other as the movie opens. What movie for friends would be without a controversial poster?
Writing together with Drew Pierce, longtime series writer Chris Morgan gives controversial adequacy to the poster when Hobbes and Shaw reluctantly team up to deal with the menacing global programmable supervirus that is missing in London – with the sister of Shaw's agent MI6 Hattie Shaw (Vanessa Kirby) as a clear thief of the virus. Of course, there is more to the story. Hattie has injected the virus for sure, but only to keep it away from Etheon, an evil corporation that plans to save humanity by killing large quantities of it. Etheon has enormous resources and a killer application in the form of Brixton Lore (Idris Elba), a fraudulent MI6 operator whose broken body has been restructured and reprogrammed with superhuman capabilities. Can the main characters save the world despite the huge odds? Perhaps, but in the tradition of the recent F&F films, they will first have to travel to a bunch of exotic places.
It doesn't hurt to bring Quick and Furious Knowledge to Hobbes and Shaw but what comes before doesn't make much difference. Partly because Hobbes and Shaw get up where they left off, arguing and threatening each other, partly because Spinoff uses characters who are not as dependent on their personal story as the characters in their stars. Statham and Johnson are two of the most action-packed action stars out there today, but neither mixes what they do from movie to movie so much. (Johnson, who appeared in the disaster movie San Andreas is not different from the one that appeared for the comedy Kevin Hart . Central Intelligence .) There is a reason. about it: these personas work. And Hobbs & Shaw proves that they work well together, stretching the sparkling dynamics of their previous appearances together to length.
Although Statham and Johnson are big, bald muscle plates, they do a fun exploration of contrasts, from an early split-screen sequence that captures their morning routine to a later fight scene in which Shaw has to bring a room, full of bad people using grace and finesse, and Hobbes must bring out some even-bigger enemy through brute force. Hobbes talks to a lock on the ring to fight. The show uses insults as daggers. The hobby looms over Shaw. Shaw invents what he lacks in size. They have some major differences and yet in a less shocking development they make a pretty good team.
Kirby is also fun, as is Helen Myron (as a criminal matriarch), a handful of big-name actors who make surprising cameos, and Elba, who plays a formidable enemy. But Hobbs & Shaw talks a lot about his eponymous duo, which saves the world through a series of action-packed stage productions staged by stunt director David Leach ( John Wick [19459003)] Atomic Blond 19659012] Deadpool 2 ). Leitch continues a series of films that treat the action scenes almost as musical sequences, with swelling rhythms built around a handful of jaw-dropping images. Playing with a pistol and hand-to-hand combat (and battles with other weapons best left intact even though they appear in the trailer) have a real impact, though some of the pursuit scenes rely too heavily on CGI for their effectiveness.
In fact, gear-pleasing moments almost feel like a mandatory nod to a series mother who Hobbs & Shaw otherwise seems happy to forget. The unresolved hostilities between key cast members make it difficult to see a complete reunion of Fast and Furious in the future, but Hobbes and Shaw appear to be well on their own if that never happens. The film leaves their door wide open for sequels and creates supporting cast for future installments, and the overly entertaining, eager nature of this film makes it easy to welcome this option. The X men have experienced the departure of key staff many times. No doubt Dom and his family can do the same.