— to prove it . London, Tbilisi, Montequinto, Cologne: The location porn, with mandated accompanying riffs in the music to guide us through those swooping, sky-high establishing shots over skylines and mountaintops, is also a dependable pleasure. In sum: We know how it works.franchise is like hearing the Mister Softee jingle a few blocks over and knowing it’ll be at your house in the time it takes to beg your parents for spare dollar bills. The promise is a treat.
The plot? Oh, there’s a plot alright. Multiple blasts from the past ; a plan for world domination using technology that no one tries to overly explain because it’s not really the point; the gang getting back together again; the gang and the world-dominators-to-be duking it out on vehicles.
Compare that to some of the rest of the soap opera this movie has in store and — well. Some of it works. The Torretto family history that frames the movie, with a quite convincing Vinnie Bennett as a young Dom, isn’t so bad; it sets up a neat, primal, and efficient central drama on which the movie could happily have coasted. Does it all, ultimately, come down to two men — brothers —isn’t good at being so judicious, however. Other resurrections of the past must ensue. Other dramas, other secrets.
On the one hand, it’s become an annoying trend in our conversations about pop art for moves that are willfully, straightforwardly bad to get immediately reclaimed asreaches so far beyond itself, sticks its hand in so many pots, that ajoke becomes not only plausible but… literal. That’s legitimate camp territory, and the movie tries to make fun of itself, there and elsewhere, by signaling self-awareness. But do we need all these signals? Cut to the chase — literally.
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