STARRING Lucas Black - Sean Boswell
Bow Wow - Twinkie
Nathalie Kelley - Neela
Brian Tee - Takashi [DK]
Sung Kang - Han Seoul-Oh
Brian Goodman - Lieutenant Boswell
Genre - Action/Crime
Running Time - 104 Minutes
PLOT When he's arrested for vandalizing property during a street race with a rival (Zachery Ty Bryan), Sean Boswell (Lucas Black) is sent to Japan to live with his father (Brian Goodman). The culture shock and living with his estranged dad take a toll on Sean. However, he meets an American army brat named Twinkie (Bow Wow) at school, who sells things for income and has a love for cars. This love for cars helps the two connect as friends, as Twinkie introduces Sean to an underground world of street racing. In particular, Japan focuses on a special type of driving known as drifting.
As Sean adjusts to this new way of living, he meets an Australian army brat named Neela (Nathalie Kelley). The two begin to flirt, but Neela is the girlfriend of Takashi (Brian Tee) - known as DK, or "Drift King" - who may have ties to the Yakuza. Sean and Takashi race each other in order to impress Neela, but Takashi smokes Sean when it comes to drifting. Even though he's lost, he impresses Takashi's business partner, Han (Sung Kang). Han sees something in Sean and wants to teach him how to drift.
Sean and Han's relationship puts a strain between Han and Takashi. Also, Neela has been developing strong feelings for Sean, which makes Sean a bigger target for Takashi and his gang. When things get really personal, Sean challenges Takashi to one more race. The stipulation: the loser must leave Tokyo for good.
REVIEW
HITS
- It feels fresh. While THE FAST AND THE FURIOUS: TOKYO DRIFT isn't a great movie, at least it attempts to differentiate itself from the two films that came before it. While the first THE FAST AND THE FURIOUS took its story from POINT BREAK, TOKYO DRIFT decides that THE KARATE KID is the way to go. You know how the story goes: Teenager moves to a new place, has trouble fitting in, falls in love with a girl, has issues with the girl's (ex)boyfriend, gets trained by someone more wise to defend himself against the girl's (ex)boyfriend, and gets the girl and the respect he wanted at the end. Sean is Daniel. Han is Mr. Miyagi. Ali is Neela. Johnny is Takashi. And instead of martial arts, it's cars. And while I could criticize this sequel for taking a well-known template and using it as its own, at least it allows the franchise to feel somewhat new and different.
TOKYO DRIFT is really the teenage version of THE FAST AND THE FURIOUS. Instead of dealing with cops and crime lords, it's more focused on teenage rebellion and finding oneself in order to feel accepted within a new world. While the first two films lacked any sort of substantial plot lines that could grab an audience, this installment actually does. I'm not saying they're executed well [which I'll get into later], but at least there's an attempt to make us care for the characters and the situations they're in. The main character, Sean, has the most development in the film - even if it could be deeper than what's presented. Sean is a troubled teen, but has a good heart and is loyal to people who return the same. It's obvious that his troubles stem from a broken home. His father is stationed in Japan [he's a Naval officer] and his mother [from what I can tell] would rather be a woman than raise a kid on her own. Because of the lack of parenting his life, Sean constantly had to move until he officially is forced to live with his father, who was never really there for him either. He's treated like an outcast at school for being a gaijin [outsider]. His love for racing with cars gets him into a ton of trouble with his father and with Takashi, whose girlfriend has a thing for Sean. And when his mentor, Han, gets into really serious trouble, Sean defends his honor and walks away accepted and a hero. In a strange way, TOKYO DRIFT is a coming-of-age story. Yes, it was done better in THE KARATE KID and in countless other films. But at least it makes this installment stand out for more than just not having most of the original cast involved.
I also like that the film focuses on the art of "drifting". I'm sure the game got inspired by a lot of racing video games at the time, in particular the Burnout series which made drifting mandatory to complete races and other challenges. It gives the film a "reason" to exist, in my opinion. The main chunk of the story is Han teaching Sean how to drift in order to contend with Takashi and change the status quo. We get a bunch of scenes in the middle act in which Sean gets better and better as he practices, feeling more at home with Han and their friends than with his own father, who doesn't really try to understand and bond with his son. In the other films, the characters already know how to use the NOS and street race. Here, the main character is starting from scratch. And strange enough, learning how to drift is sort of a metaphor of a boy finally becoming the man he's meant to be. While it's not the best execution in the world, at least it tries to get the audience invested. And because of that, I can respect the existence for TOKYO DRIFT. It doesn't feel like a standard sequel. It feels new, even if audiences didn't want it at the time.
- The cast. Like every other THE FAST AND THE FURIOUS film, the acting is never the highlight of the film - at least intentionally. But I do like the cast here for the most part. And honestly, the acting here isn't all that terrible. Is it inspiring? Not even close. But given what the script allows the actors to do, the actors do fine in their respective roles.
Lucas Black, best known for the films SLING BLADE and FRIDAY NIGHT LIGHTS, isn't the most charismatic actor as Sean. He's not the right guy to carry a film like this. But his Southern accent and the way he carries himself makes him somewhat interesting. Bow Wow isn't all that annoying here as one would expect. He doesn't really do a whole lot but be the token black guy. But unlike Tyrese in 2 FAST 2 FURIOUS, Bow Wow isn't overdoing trying to be cool. So it's an improvement. Nathalie Kelley is cute and pretty good as Neela. Her and Black don't really have that much chemistry really, but she's one of the better actors here. Brian Tee is quite good as Takashi. He's very charismatic and has a bad boy quality that comes across as authentic. Compared to the more bland Black, Tee is a highlight as the film's main antagonist. And Sung Kang is very good as Han. There's a mystery and an edge about him that makes the role work, extending somewhat to Black whenever the two share the same scene. It's not surprising that Han would come back to the original franchise with the original cast. He's a welcome addition to the series. And of course, we get a short cameo at the end from Vin Diesel. It doesn't do a whole much for the film besides connect it to the rest of the franchise. But it's nice to see Diesel regardless. Not a bad cast.
- Justin Lin. The producers hired Justin Lin after seeing his film, BETTER LUCK TOMORROW, thinking Lin would be able to freshen up the franchise a bit. Lin is definitely a more grounded, straightforward director than Rob Cohen and John Singleton. Rather than relying on cool colors, ridiculous CGI effects, and MTV style editing, Lin directs the film with confidence and with more realism [well as realistic as possible]. Lin does inject style in the form of montages, slow motion, and even fast motion. And some scenes feel like a music video at times, which is fine since these scenes have a soundtrack behind them. The cinematography is good. The editing is also pretty good as well. Some camera movements are quite cool at times. I just like the guy's style. It's not as flashy as previous directors, yet still feels like a FAST AND FURIOUS film. Lin would get better as he filmed more sequels, but it's a pretty good start.
MISSES - Not exciting enough. The downside to Justin Lin's direction is that the action scenes don't seem as good as in previous versions. Maybe it's because the way Lin shoots scenes in this film tend to be more subtle than Cohen or Singleton. But the race and chase scenes don't seem to amp you up as they would in previous versions. While the slower versions are directed pretty decently, the action sequences lack a certain something. I'm not sure if it's because of the editing, or the framing, or just the choreography of these sequences. But they just seem pedestrian. The last race, in particular, should feel thrilling and dramatic. Instead, you don't feel much for it at all. It's weird because the race actually has the best reason for even happening here than in the previous two, yet the buildup isn't enough to make the final sequences mean more than they should. Instead, it just feels like been there, done that.
- Underdeveloped plot lines and characters. Not a surprise by this point. It's something we should be used to when it comes to this franchise. However, it bugged me more here than it did in the others. Why? Because there was a real chance to make the subplots feel more meaningful than they actually are. Sean's struggle with his parents, especially his father, would have meant more if we actually knew more about their relationship and why it's strained to begin with. There was more of a story there than what was actually told.
The love triangle aspect also felt half-assed as well. For me, this hurt the film because this was the catalyst for the drama between Sean and Takashi - which led to everyone else getting involved. Sean and Neela barely share any scenes together, and when they do, it's pretty cliche. There was no sense of chemistry between the three characters, which made that love story fall flat.
As for the mafia stuff, it felt like a last minute addition to make Takashi more of a villain and a way for Sean to get revenge on him. I doubt any serious Yakuza [or whoever they were] leader would let some outsider demand a deal to get one of their own kicked out of the group over someone's death. It just seemed too easy and too convenient. And doing so through a race? It's hilarious. But maybe that's the point.
The characters all deserved more development than they actually receive. You know enough through their stereotypical personae, but this sequel seemed more focused on the teen drama rather than the action. In that case, the story and the characters should have had more substance to compensate for lack of eye candy and action with cars. The slower, quieter moments tended to drag a bit because you didn't really care about who you're watching. At least the other films distracted you with pretty things on screen. If the story is going to be as shallow as this one turned out to be, then TOKYO DRIFT should have had more action. The balance was pretty off here.
THE FINAL HOWL I used to really dislike this sequel back when I watched it in 2006. But after watching it again, I actually didn't mind it too much. TOKYO DRIFT is not a great film, but it's not a bad one either. It does have some things going for it, like a decent cast, a fresh director, and a newer feel from the first two films. But there isn't enough action to distract from a shallow screenplay. And what's even worse, the action isn't all that exciting or that fun to watch. Still, it's a decent flick and time waster. And since it supposedly takes place after the events of the current sequels, you don't really need to watch it to catch up with the current timeline. Still, TOKYO DRIFT is probably better than it has any right to be.
STARRING Ben Johnson - Captain J.D. Morales
Andrew Prine - Deputy Norman Ramsey
Dawn Wells - Helen Reed
Jimmy Clem - Sgt. Mal Griffin
Jim Citty - Police Chief R.J. Sullivan
Charles B. Pierce - Patrolman A.C. Benson
Robert Aquino - Sheriff Barker
Genre - Horror/Slasher
Running Time - 86 Minutes
PLOT On March 3rd, 1946, a man wearing a sack over his head violently assaults two lovebirds in their car in a small town called Texarkana in the state of Arkansas. The police force, including Deputy Ramsey (Andrew Prine), Police Chief Sullivan (Jim Citty), and Sheriff Barker (Robert Aquino), try to calm down the townspeople by appointing curfews after sundown. However, any clues leading to this assailant don't seem to exist, frustrating the entire town.
Several weeks later, Deputy Ramsey finds an abandoned car, as well as another attacked couple who were shot to death. The killer is now called "The Phantom Killer", since no one has seen him or can figure out what kind of motive he has with these crimes. The state hires Texas Ranger Captain Morales (Ben Johnson) to help out with the case, hoping his expertise will help in capturing this very dangerous man.
REVIEW
HITS - The Phantom Killer. Loosely based on true events, THE TOWN THAT DREADED SUNDOWN is considered one of the earliest slasher films in the horror genre. It's, without a doubt, due to the presentation and the violent actions of The Phantom Killer.
Let's begin with the look of this dude: He wears casual clothes, plus a sack over his head to cover his face. While some may think the sack may look silly and plain, I think it looks pretty damn creepy. I mean, a blank sack with just two peepholes for eyes staring at you? I'd be running away in a flash from this guy! I also love how the Phantom Killer breathes underneath it, almost as if he's huffing and puffing with anger and frustration. This dude is pretty intimidating. And yes, it's very obvious that the Phantom Killer was the basis for the look of a famous horror icon later on. Without this character, who knows what Jason Voorhees would have looked like in FRIDAY THE 13TH: PART 2.
I also liked The Phantom Killer's actions when it came to stalking and taking out his victims. I think it's because you know he's just a normal human being with a few screws loose, instead of some supernatural being who can't be stopped or killed. He hides behind trees and bushes in quiet areas, waiting for couples to arrive. He enjoys destroying cars just to get his target. He loves to bash people's brains in. He enjoys tying women face-first around trees. He has a trusty revolver to shoot victims. And in one of the more memorable moments, he ties a knife to a trombone and stabs a female victim while attempting to play the instrument. That not only takes talent, but that also shows a ton of personality. And the killer never says a word in the film at all.
I think the best part about the Phantom Killer is that he's just a normal [well, less sane than others] man who easily blends into the town. While he does creep out certain women on occasion out of costume, no one seems to suspect that this man could be a killer. One of my favorite moments in the film is when the police are discussing the Phantom Killer in a restaurant and how they suspect he's a regular citizen during the day, able to conceal his identity by looking and behaving normal. Then the camera pans, revealing a familar pair of shoes and slacks, implying that the killer was inside with the police listening to their conversation. It's seriously creepy and frightening to know that serial killers are walking and doing normal things in our neighborhood without us suspecting a thing. And the fact that The Phantom Killer was never caught makes the story even scarier. THE TOWN THAT DREADED SUNDOWN succeeds with its mysterious and creepy antagonist big time.
- The docu-drama style of storytelling. I really enjoyed the way the story for THE TOWN THAT DREADED SUNDOWN was told. It felt like an extended Unsolved Mysteries episode, in which a narrator discusses the facts of the case in order - giving the audience insight on the situation and the backstories on all the players in the story so we can identify with them better. It can a bit distracting for some, as they would prefer to just let the story unfold naturally without any form of voiceover leading us through the attacks. But I enjoyed it and it reminded me of one of those shows on the Investigation Discovery channel - and I'm a fan of those shows.
- The sense of dread. While Charles B. Pierce screws it up somewhat with his attempts of levity that don't work at all, THE TOWN THAT DREADED SUNDOWN is pretty much a bleak story without any form of an uplifting ending. In fact, there's no real hope in the film, except for a sequence during the final act where the police are closing in on The Phantom Killer in a tense shootout. But the fact that he's never caught, and the police being pretty much clueless in who he really is and how to protect their citizens, makes THE TOWN THAT DREADED SUNDOWN a pretty dark film.
And anytime the film plays it straight and serious, the film really works on all cylinders. The stalking scenes are tense. The shots of the killer's feet and pants really build on this mystery. The way the killer breathes while he's on the hunt is intimidating and quite powerful. When it clicks, it clicks. It's just unfortunate that the movie doesn't allow that to completely happen from beginning to end.
- The cast. There are no real standouts in terms of acting, but I do enjoy the cast in this film. The great Ben Johnson is very good as Captain Morales. He comes across as very tough, intelligent, and attempts to make the "funny" moments somewhat tolerable. I think a lot of critics felt that this kind of film was beneath Johnson [since he was an Academy Award winner a few years before the release of this film], but I think his presence makes THE TOWN THAT DREADED SUNDOWN more credible than it already is.
The supporting players are pretty good as well. Andrew Prine is good as Deputy Ramsey, really providing a charismatic performance. He also makes his character deeper than the script allows. Dawn Wells, best known as Mary Ann on Gilligan's Island, is probably the best victim of The Phantom Killer. Her fear translates very well and she would have made a decent Scream Queen if her character had gone in that direction. And while I thought his character was ridiculously silly, Charles B. Pierce at least makes the most of playing "Spark Plug" Benson. I just wish he didn't put himself in the film as much as he did.
And special mention goes to stuntman Bud Davis for his creepy portrayal as The Phantom Killer. Through the use of body language and the telling in his eyes, the villain of the film is extremely memorable through his menace and craziness. Whoever cast this man deserves huge kudos.
MISSES - The "funny" sections. Yeah, THE TOWN THAT DREADED SUNDOWN definitely needed slapstick comedy and a bumbling cop nicknamed "Spark Plug". Every slasher film needs Gomer Pyle type comedy to really emphasize the scare factor!
...Really? Charles B. Pierce thought physical comedy was a great addition to a serious story?
Here I am, sitting on my couch watching this film, getting really caught up in all the stalking and serious stuff. Then all of a sudden, I get a character who acts so much like an idiot that it affects the other characters around him. "Spark Plug" does not belong in a film like this. I don't want to see him being a driver because he's a terrible driver. BECAUSE TERRIBLE DRIVERS ARE HILARIOUS, GET IT?? I don't want to see him acting as bait by dressing up as an ugly woman. BECAUSE MEN DRESSED IN DRAG ARE FUNNY, GET IT??? There's just too much of this guy and it felt I was watching a Dukes of Hazzard episode within a horror film. Sure, comedy can definitely work in a horror film, as it allows the audience to breathe a bit. But not when it ruins the flow and takes me out of what the film is really trying to tell.
In a lot of ways, it reminded me of the original 1972 THE LAST HOUSE ON THE LEFT. You had so much violence, grit, and exploitation that made the film excelled. Then all of a sudden, you had a duo of bumbling cops ruining everything by trying to be funny. It just ruined the film for me. Thankfully, the remake fixed that. But until a more serious remake is released, we have to settle with this mish-mash of styles that don't go together at all. I felt like I was watching two movies - a great horror film and a lousy comedy. It's a shame Pierce went this route because he really had something going until he put himself in the film to be "funny. It obviously didn't work.
THINGS I'VE LEARNED WHILE BRUSHING UP ON MY TROMBONE SKILLS
- The Phantom Killer cut some car wires so a couple of lovebirds couldn't escape his attempted murder spree. Although he sucks as a mechanic, he gets a AAA for effort.
- A doctor confirmed that a female victim had her breasts bitten and chewed by The Phantom Killer. It's obvious he's a baby and he just started teething. Wait until those Terrible Twos!
- One of the victims was found dead, hugging a tree. It's obvious the killer hates hippies some 20 years before it became cool to do so.
- Back in 1946, a haircut cost 40 cents. The gum that got caught in my hair that'll make me get a haircut doesn't even cost 40 cents. Damn economy...
- The Phantom Killer seemed obsessed with a playing a certain instrument for a female victim, using it to stab her with a knife attached to it. I guess he just wanted to slide his trombone in her brass section.
- The Phantom Killer targeted Dawn Wells, shooting her multiple times inside her home. It's obvious the killer is Gilligan, still pissed she chose the Professor over him during that three hour tour.
THE FINAL HOWL THE TOWN THAT DREADED SUNDOWN is a cult classic when it comes to the slasher sub-genre. It inspired other films - more popular films - that were released a few years after it. It also has a great villain, a bleak atmosphere, great serious moments, and a cast who takes the story seriously and makes it work. Unfortunately, we have to deal with moments that try to be funny, but just fall flat. THE TOWN THAT DREADED SUNDOWN is a good film that had a ton of potential to be better. This is one film I wouldn't mind a remake for. But until then, the original is definitely worth a look and a buy when Scream Factory finally releases it on DVD and Blu-Ray.
DIRECTED BY Richard Donner STARRING Marlon Brando – Jor-El Gene Hackman – Lex Luthor Christopher Reeve – Superman/Clark Kent Ned Beatty – Otis Jackie Cooper – Perry White Glenn Ford – Pa Kent Margot Kidder – Lois Lane Valerie Perrine – Eve Teschmacher Genre – Action/Adventure/Fantasy/Comic Books/Superheroes Running Time – 143 Minutes If anyone were asked about naming a comic book character, I’m pretty sure Superman would be the first thing answered. Created by Jerry Siegel and Joe Shuster, Superman and his alter-ego, Clark Kent, have been pop culture icons since the character’s comic book inception in 1938. Merchandise, product placement, and the video game market have all jumped on the bandwagon, admiring the character’s appeal due to what he represents – “Truth, Justice, and the American Way.” Superman is considered the first major superhero, which not surprisingly led to the character being adapted for television and radio. In 1940, The Adventures of Superman radio serial premiered, lasting 11 years. Animated shorts premiered on television between 1941 and 1943. But it wasn’t until 1952 that Superman truly became iconic due to George Reeves starring in Adventures of Superman, which lasted 6 seasons. More animated series premiered, such as 1966’s The New Adventures of Superman, 1973’s Super Friends, and 1996’s Superman: The Animated Series. As for television, Lois & Clark: The New Adventures of Superman, starring Dean Cain and Teri Hatcher, debuted in 1993. And 2001’s Smallville, starring Tom Welling, lasted ten seasons. But the idea for Superman was always conceived for the big screen. While live-action serials premiered in 1948, it wasn’t until SUPERMAN: THE MOVIE in 1978 that the character really took to an entirely new level. Ilya and Alexander Salkind didn’t conceive the idea for the film until late 1973, which interested a lot of actors and directors in being part of the project. Steven Spielberg, at one time, was attached to direct it. However, Spielberg had a higher asking price than most, and Alexander Salkind wasn’t willing to hire him until he knew how JAWS would do. By the time JAWS was a blockbuster, Spielberg had moved on to CLOSE ENCOUNTERS OF THE THIRD KIND. Many actors, like Sylvester Stallone, Warren Beatty, James Caan, James Brolin, and countless others were approached for Superman. Marlon Brando was hired to play Jar-El, Superman’s birth father, making $3.9 million and 11.75% of the box office gross profits. Brando also had control of the casting of the film, which caused Brando to fall out of favor with some actors, including Stallone who never got over Brando not wanting him to play Superman. Eventually, Richard Donner was hired to direct, while Gene Hackman was chosen to play Lex Luthor, Margot Kidder as Lois Lane, and an unknown Christopher Reeve as Superman. The film, which was shot back-to-back with SUPERMAN II [we'll get to that controversial film in our next SUPERMAN review] was released on December 10, 1978. And since it was highly anticipated, it was no surprise that the film made over $300 million worldwide on a $55 million budget. It proved that comic book adaptations could make big money for studios, which is something modern audiences have quickly become accustomed to. What’s even more impressive is how well SUPERMAN: THE MOVIE still works after 35 years. Sure, some of the film is dated and it’s not perfect technically or story wise. But damn if it still doesn’t make me feel like a kid again. With the highly awaited MAN OF STEEL reboot out next month, it’s definitely time to look back at the SUPERMAN franchise and see why they worked so well – and why most of them failed to live up to expectations. PLOT On a far-away planet called Krypton, there is trouble afoot. Due to his warnings of Krypton being destroyed falling on deaf ears to his peers, Jar-El (Marlon Brando) and his wife Lara (Susannah York) send their only child [an infant named Kal-El] off of their planet towards Earth. Kal-El survives, while the rest of Krypton implodes and ceases to be. After a few years, Kal-El lands in Smallville, Kansas. He’s discovered by Jonathan (Glenn Ford) and Martha Kent (Phyllis Thaxter), who raise Kal-El as their own child – fully aware he is not an Earthling. Renaming him Clark (Jeff East), the Kents provide Clark with values and morals when it comes to humanity. Although Clark is frustrated that he can’t brag about his powers, or use them in any way due to fear of how others would react, the Kents instill in Clark that he must be careful and only use his powers when it’s truly time. Unfortunately, Jonathan passes away. Feeling guilty that his powers couldn’t save his dad, Clark leaves Smallville, realizing that he has a greater journey to experience. This journey leads him to the Arctic, where a green crystal from his spaceship reveals a Fortress of Solitude, left to him by his birth father, Jar-El. Jar-El trains Clark in their Kryptonian ways, giving Clark full control of his powers and shows him his mission on Earth. Now an adult, Clark moves to Metropolis to be a reporter for the Daily Planet. Acting like a shy, bumbling, awkward journalist, he falls head over heels for tough-as-nails reporter, Lois Lane (Margot Kidder), who pays him no real mind beyond as a colleague. During a horrible helicopter accident that Lois needs saving from, Clark uses his powers to save her and the citizens from Metropolis from eventual tragedy. While stopping other crimes and saving Air Force One from crashing, Clark becomes a celebrity that everyone wants to know more of. During an interview with Lois and having her fly along with him, she dubs Clark “Superman”, not realizing that Clark and Superman are the same person. Unfortunately due to this interview, criminal mastermind Lex Luthor (Gene Hackman) becomes interested in Superman and his origins, trying to figure out a way to stop this new hero before Superman can ruin his plans. Luthor wants to make a fortune on real estate by sending part of California, he doesn’t own, into the sea by sending a missile to create a huge earthquake. However, Luthor is sending a second missile to New Jersey to distract Superman from his actual goal. Will evil triumph? Or can Superman overcome the odds?
REVIEW
HITS
- Mario Puzo’s screenplay [with the help of some rewrites and doctoring]. While not a perfect screenplay, Mario Puzo [writer of THE GODFATHER] crafts the first true origin story for a live-action superhero movie. And while modern superhero films have an easier time with their origin stories [since they know the template by now], Puzo had to come up with a script that would not only detail how Superman came to be, but give him an actual threat that would allow him to truly be heroic. Puzo’s original screenplay was claimed to have been extremely long [400 pages or so], which required Donner to have people [especially an uncredited Tom Mankiewicz] come in to rewrite it for more of a focus. Also, the script was a lot campier than it appears in the final film, which Donner was against. And while SUPERMAN: THE MOVIE is not totally a serious film, it’s probably the best script for this kind of film for its time and for its budget. SUPERMAN: THE MOVIE is really two parts. The first part is the early years. We learn about the fate of Krypton, how the Kents found Kal-El, and Kal-El’s young adulthood as Clark Kent. The scenes involving Krypton are quite good, giving us a quick history as to how they conducted their trials [involving General Zod, Non, and Ursa being sent to the Phantom Zone, setting up SUPERMAN II], as well the Kryptonians ignoring Jar-El’s pleas that Krypton was about to die. There’s no filler in these scenes at all. They’re pretty straightforward, moving the story along well and showing us why Kal-El was sent to Earth in the first place. The dialogue and the way things transpire for this doomed planet are written perfectly. I do have issues with a young Kal-El on Earth prior to moving to Metropolis. I don’t think enough time is used to really elaborate Kal-El’s struggles to fit in as Clark Kent, knowing he has gifts his parents are afraid he’ll use in front of others. Things progress way too fast. We don’t get enough time with The Kents really and a teenage Clark quickly decides to leave after a psychic call tells him it’s time. Even the scenes at The Fortress of Solitude go by too fast, as we don’t really see Clark train into Superman. I know the film would probably have to be longer to accommodate these plot points, but they don’t resonate that much for casual viewers. Only fans of the character would be perfectly okay with how these scenes progress, as they already know the history anyway. Origin stories have it tough really, so the lack of development doesn’t bother me all that much. You can do so much in 143 minutes. You can’t have all pre-hero scenes without sacrificing the heroic adventure. You can’t have the heroic adventure without giving us a background to the character and their motives for becoming a hero. It’s a slippery slope. But at least what needs to be told is told, so I can’t complain too much. The second half of the film is really Superman coming into his own and becoming the hero we all know him to be. While the first half is fairly serious, the second half is a bit more humorous in tone, making SUPERMAN: THE MOVIE feel like two movies in one in a sense. And while two tones usually lead to disaster for a film, it somehow works in this film’s favor. In fact, the humorous moments add a lovable charm to the movie, bringing us closer rather than turning us off. Clark Kent, as Daily Planet’s reporter, is a buffoon – but a likeable one. He’s socially awkward, clumsy, and extremely geeky. No one really respects him a whole lot, or even paid attention to his presence. This works because Superman is the total opposite. He’s smooth, charming, noble, and very appealing to both men and women. While I think the whole “glasses cover up” is ridiculous [do glasses really hide a person’s secret identity?], at least the personality shifts make both Clark and Superman seem like different individuals that never share the same space. And the script plays around with that fact, and it does very well. It also helps make the love triangle with Lois Lane more plausible than it has any right to be. Clark is in love with Lois. Superman is in love with Lois. And Lois is only in love with Superman, not realizing that he’s also Clark. It makes the scenes quite comical, but also allows the love story to develop between the “three” of them. In a very clever way, Lois also seems to be two people as well. When she’s with Clark, she’s tough and spunky. When she’s with Superman, she’s like a lovesick school girl. It makes their relationship quite complex, yet simple all at once. It’s not the best romantic development between two characters [this aspect of the story was pretty much saved for SUPERMAN II], but it’s a good start and it’s cute to watch. The screenplay also has some good, memorable dialogue. And the characters are all great. Lex Luthor is comedic, but there’s something menacing about him. Perry White is headstrong and blustery. Jimmy Olsen is the upbeat, young guy. Otis is the dimwitted evil sidekick. Miss Teschmacher is sassy, yet also has a heart. Both Jar-El and Jonathan Kent are noble and wise, but in different ways. All the characters are colorful and represent their comic book counterparts pretty closely during that time. Without this screenplay, not only would SUPERMAN: THE MOVIE not be memorable, but we wouldn’t have all the other comic book adaptations we see now. Like I said, the screenplay isn’t perfect. But when it works, it flies. - Richard Donner’s direction. While not the producers’ first choice for director, Richard Donner is one of the reasons why SUPERMAN: THE MOVIE continues to be a favorite amongst movie watchers. While Steven Spielberg and GOLDFINGER director Guy Hamilton were the first choices, Donner got the job after 1976’s THE OMEN was a huge horror hit. He was also one of the few directors willing to take on two films and film them back-to-back at the time. And while SUPERMAN II had issues in terms of direction [and we’ll get to that very soon in another review], Donner’s work on SUPERMAN pretty much went well with producers – and audiences as well. In fact, Donner is the reason why SUPERMAN flew to new heights at the time. Using a lot of creative control, he had Tom Mankiewicz doctor Mario Puzo’s long and campy screenplay, giving it more of a focus and a more grounded approach that matched Donner’s vision for the story. Donner didn’t want the film to be seen as a joke. He wanted the film to represent the title character as closely as possible. He wanted it to inspire people and make them feel good about the world. Donner, in fact, does a great job in making SUPERMAN feel like an epic motion picture. Right from the start with those iconic opening credits, you know this film is going to be something special. Donner makes the film feel larger than life, creating a reality that’s comic book influenced – yet since things feel real for the characters, they feel real to us. The set pieces are huge and used to their full potential, especially when Krypton collides with their sun, as well as the earthquake in the final act. The action scenes are done well, with great composition, pacing, and editing done to make them seem grandiose. In fact, Donner handles all the visual effects very well, making us believe that a man can fly. As simple as this scene is, I really enjoy Superman and Lois Lane flying over Metropolis. Through the visual storytelling, especially the editing and framing, you feel the romance between the two characters through their eye contact and body language rather than through dialogue. The pacing is off at times, due to different sections of the film having different tones. In fact, the first half of the film [the drama portion] feels much slower than the last half of the film [the action portion]. But it doesn’t hurt the film too much because you can feel that Donner is building momentum towards the final act of the film. I also enjoy Geoffrey Unsworth cinematography as well. The picture looks great and colorful, like a live-action comic book would. The way things are set up to be shot a certain way, and just the grand scale of it all, really make SUPERMAN visually memorable. I believe Donner and company were way ahead of their time when it came to making a film as epic as SUPERMAN is. It’s a shame Donner wasn’t allow to finish what he had intended with this franchise. But SUPERMAN: THE MOVIE is all his vision, and it’s a lot of fun to watch. - The visual effects for the time. While they do look dated now, I’m sure people were absolutely amazed by the special effects of SUPERMAN: THE MOVIE at the time. I mean, watching Christopher Reeve fly across the screen like a superhero must have made audiences watch in awe as to how it was done. Obviously, it was done through wire work in front of a green screen. But for its time, this truly was some advanced technology at work. And watching Krypton get destroyed is still as impressive today as it probably was 35 years ago. No CGI used here. While some of it does look like a set, at least it looks real enough that you can actually buy it happening. By the way, I love that the Kyrptonian uniforms tend to glow. It’s such a nice touch, making these characters seem otherworldly and separates them from the later characters on Earth. And the destruction of California looks great as well. The cracks on the ground due to the earthquake are realistic. The Golden Gate Bridge losing its suspension is tense and realistic. And Lois Lane getting buried alive is a suspenseful moment, and done visually well. I admire what the visual effect crew did here. Using models and wire work, there’s a great use of imagination that completely satisfies the audience. There’s a reason why I prefer practical effects over CGI, although CGI can be great if used correctly. SUPERMAN: THE MOVIE is a product of its time, but still manages to look visually cool and fantastical. - The cast. The story wouldn’t work in SUPERMAN if the cast didn’t take their roles seriously. Marlon Brando got first billing, although he’s only in the film for about 15 minutes. Brando doesn’t give the most dynamic performance as Jar-El, as there’s really no range in his acting. But Brando carries a presence that matches the epic scale of the film. And while that may not be worth the money he received for the role, Brando does add something during those opening scenes. Gene Hackman, who received second billing, is great as Lex Luthor. Hackman plays the role for laughs, but there’s something really dark and serious underneath the comedy. Hackman definitely plays a villain, but he’s pretty charming and very overdramatic in a likeable way. As for then unknown Christopher Reeve, he’s still considered to be Superman to many, even to this day. I believe Reeve may have done a soap opera prior to getting the role, but he truly makes it his own and really captures the essence of the character during this era. He’s great as the socially awkward Clark Kent, doing great slapstick and acting really convincingly like a total nerd. And then as Superman, he’s a totally different character – smooth, confident, heroic, and absolutely charming. Reeve shows a lot of range in the role and really carries the film well. No matter how well Henry Cavill may be in the role in the upcoming MAN OF STEEL, Reeve was the actor I grew up with. For me, he’ll always be Superman. And it’s not just because he looks the part. It’s because of his excellent performance here. Even in the worst sequels, he was always the highlight. It’s a shame he got typecast in the role and later passed away due to complications from his paralysis after a horse accident. He’s a really great actor and is truly the reason why this story works as well as it does. As for the supporting actors, they all play their parts well. Margot Kidder is great as Lois Lane. She’s tough, spunky, and ballsy. She’s also vulnerable and charming as well. Kidder and Reeve really have explosive chemistry, in my opinion. Their blossoming relationship is very convincing and make the love story believable. Jackie Cooper is blustery as Perry White, doing well in his limited role. Ned Beatty plays the idiot well as Otis. He has great banter with Hackman that’s pretty funny. Valerie Perrine works as Eve Teschmacher. She has this ditzy quality about her, but Perrine actually plays the character kind of smart. Richard Donner really gathered some great actors in this film, helping the film’s success undoubtedly. - John Williams’ score. Coming right off of STAR WARS, composer John Williams probably creates one of the more iconic scores for any film. Once you hear the first notes of SUPERMAN’s theme, you know you’re watching something big. It just feels heroic, epic, and makes you want to rip open your shirt and reveal a giant “S” symbol. The other themes are more subtle, yet work for their respective scenes. But Williams created a classic score that everyone knows, and it’s probably a reason why fans continue to go back and watch this film from time to time. MISSES - The ending.SUPERMAN: THE MOVIE starts off really strong and continues that way until the film’s last final minutes. I’m not talking about the whole “Superman spinning around the Earth so it can rotate backwards to go back and time” deal. That aspect of the film used to bug me, but I’m okay with it since having Superman choose Jonathan Kent’s teachings over Jar-El’s is a pivotal moment for the character. I’m talking about what occurs after that. I understand that Superman has to stop the villains and save the day, since this is a comic book film. But it happens way too quickly, and just feels way too easy, leaving me pretty unsatisfied as a viewer. What Superman does with the changing of time has no consequences, at least in this film. He saves Lois’ life, yet their status quo never really changes – although it is implied that she’s figuring out the relationship between Clark and Superman. But the whole sending Lex Luthor and Otis to prison just feels like an afterthought really. There’s no real struggle or drama with the capture. Superman flies away from Lois and Jimmy, and then in the next scene, Superman brings Lex and Otis to the prison. It feels like something is really missing here. I’m glad the film ends on a happy note, leading into the more dramatic SUPERMAN II. But at least end the first film with a bang. Instead, it kind of ends with a whimper. - Needed a stronger villain. I think many reasons why a majority of fans, including myself, prefer SUPERMAN II over SUPERMAN: THE MOVIE is due to the villains in each respective film. SUPERMAN II has Superman battling Zod, Ursa, and Non – three Kryptonians who have his powers, making the fight tough. In SUPERMAN, he deals with Lex Luthor, who isn’t portrayed as much of a threat really. Sure, he sends two missiles to destroy both coasts of the United States. And before Superman turns back time, Lex does manage to hurt Superman personally. But it sort of seems like a lucky coincidence rather than something Lex actually intended. At least in this film, Lex Luthor and his crew aren’t a real match against Superman. And I think it hurts the drama and tension of the film a bit. THINGS I’VE LEARNED WHILE TUGGING ON SUPERMAN’S CAPE - Zod, Ursa, and Non were sentenced for their crimes, having to spend eternity inside the Phantom Zone. It’s probably easier than living in The Twilight Zone. Once that little kid thinks you’re bad, you’re being sent as a jack-in-the-box to the cornfield for sure! - Clark Kent’s favorite cereal is Cheerios. Sure, because Clark’s biggest weakness will be high levels of cholesterol… - Perry White told Lois Lane that there’s only one “P” in rapist. Ironically, it takes two “P’s” to do that terrible action. - A cop failed to follow Otis to help him locate Lex Luthor. I’m sure the train that crushed the cop made him squeal like a pig as it flattened him. - Lois Lane had to be saved by Superman after her helicopter malfunctioned. Match.com is probably a much easier way to get a respectable date with an alien superhero… - Lois asked Superman about how big he was. I don’t think it really matters, since I hear he’s faster than a speeding bullet. - Superman’s weakness is kryptonite. My weakness is SUPERMAN III. I think I win. THE FINAL HOWL SUPERMAN: THE MOVIE is a film ahead of its time. It proved to studios and to comic book fans that it was very possible to make successful adaptations of their favorite superheroes at the time. Richard Donner directs the film with focus, giving us a good origin story with a game cast that took their roles seriously to create something memorable for years to come. It’s not a perfect film, but it’s the one that got the ball rolling, so to speak. After 35 years, SUPERMAN: THE MOVIE still flies above many of the modern superhero films. It has heart and charm, making us all wish we could put on a red cape and save the day.
DIRECTED BY Shane Black STARRING Robert Downey Jr. – Tony Stark/Iron Man Gwyneth Paltrow – Virginia “Pepper” Potts Don Cheadle – Col. James “Rhodey” Rhodes/Iron Patriot Guy Pearce – Aldrich Killian Rebecca Hall – Dr. Maya Hansen Ben Kingsley – The Mandarin James Badge Dale – Eric Savin Jon Favreau – Happy Hogan Ty Simpkins – Harley Genre – Action/Adventure/Fantasy/Comic Books/Superheroes Running Time – 130 Minutes PLOT Since the events of THE AVENGERS [dealing with aliens and traveling through a wormhole], Tony Stark (Robert Downey Jr.) hasn’t really been himself. Stressed out and having anxiety attacks anytime “New York” is mentioned, Stark has trouble sleeping and has been building a multitude of armored suits to pass the time. This has even caused issues with his newly live-in-girlfriend, Pepper Potts (Gwyneth Paltrow), especially when the armor suits suddenly become violent due to Stark’s mental connection to them. While Pepper wishes Stark would stop making these suits, Stark feels that there’s a threat coming and must be prepared for it. The possible threat may be from a man known as The Mandarin (Ben Kingsley) – who creates Al-Queda like terror videos in which he takes credit for certain bombings in the United States. While James Rhodes (Don Cheadle), now rebranded from War Machine to Iron Patriot, is in charge of finding the Mandarin for the United States Government, the issue becomes personal for Stark when bodyguard Happy Hogan (Jon Farveau) is attacked during one of these bombings. When Stark threatens the Mandarin, Stark Tower is attacked and destroyed, leaving many to believe that Stark was killed in the attack. Stark, however, wakes up in Tennessee. Here, he gets a young sidekick named Harley (Ty Simpkins), who helps Stark in finding out how The Mandarin has been performing his terrorist attacks under the radar. Apparently, the bombs happen to be humans themselves through some substance called Extremis – which has been created by Advanced Idea Mechanics (AIM), run by Pepper’s former colleague and Mandarin’s associate Aldrich Killian (Guy Pearce). Apparently, Extremis [which injected] grants humans super strength, the ability to regenerate wounds and limbs, and the power to control fire. However, the substance is very unstable and could create human bombs if it fails. When Stark learns that Killian plans on giving the Extremis “virus” to Pepper, Stark tries to overcome his post-traumatic stress and save the woman he loves.
DIRECTED BY John Singleton STARRING Paul Walker – Brian O’Conner Tyrese Gibson – Roman Pearce Eva Mendes – Monica Fuentes Cole Hauser – Carter Verone Chris ‘Ludacris’ Bridges – Tej Parker Thom Barry – Bilkins James Remar – Markham Devon Aoki – Suki Genre – Action/Crime Running Time – 108 Minutes PLOT Brian O’Conner (Paul Walker), formerly of the LAPD, is now a fugitive after letting criminal Dominic Toretto (Vin Diesel) escape in THE FAST AND THE FURIOUS. Knowing the cops are after him for going against their plans, Brian travels from California to Miami, participating in underground street races to make income and survive under the radar. After a street race is infiltrated by Miami police, Brian is busted. While the cops want Brian to be punished for his crimes, they realize his expertise would be useful in locating and bringing in a local crime lord named Carter Verone (Cole Hauser). With the return of FBI Agent Bilkins (Thom Barry), Brian is offered a clean record if he helps the local law enforcement bring down Verone with the help of undercover agent, Monica Fuentes (Eva Mendes) – who is currently “acting” as the girlfriend of Verone. Realizing that cars would be involved, Brian requests the help of a childhood friend, Roman Pearce (Tyrese Gibson), wanting a clean slate for him as well if the mission goes down as planned. With both Brian and Roman on board with the investigation, the two estranged buddies will prove to everyone around them that they are 2 fast and 2 furious.
REVIEW
HITS - Most of the cast. Let’s just get one thing clear here – none of the acting here is at all exceptional or anything. The first film’s cast are better thespians than the ones here, especially with this sequel’s poor script. But I can’t help but be entertained by how poor the actors’ deliveries were, which made the film more watchable than it had any right to be. Save for one really, I didn’t mind the “acting” here too much. Tyrese Gibson, model-turned-singer-turned-actor, is irritating and annoying at times because he tries too much to be funny or to be heard. Maybe that’s due to the fact that he has to compensate for Paul Walker’s performance [who I will get to shortly], but Tyrese’s performance is a bit over-the-top. But at least he brings energy and some charm to the film, although he doesn’t replace the coolness or intensity of Vin Diesel in the same role. Eva Mendes is a good actress, and she tries her best here as Monica Fuentes. She doesn’t really get much to do but flirt with Walker, get slightly abused by Cole Hauser, and get insulted by Tyrese. But she looks great doing it, so there’s that! Hauser is laughable as the villain. He comes across as a shady salesman rather than some crime lord. He’s so unoriginal in the role, that it’s unintentionally laughable. So at least he entertained me somewhat. Thom Barry and James Remar do well in their smaller roles. Ludacris surprises as Tej. He’s not that bad here honestly and is quite charming and likeable. Nice to see that they kept him in the franchise because he’s one of the better actors here. And I don’t know what the purpose for Devon Aoki in this film was, but at least she’s cute and has some sass. Like I said, none of these actors were great, but at least they amused me for various reasons. - The action. While I do think the action in the first THE FAST AND THE FURIOUS film had more heart, soul, and tension than in this sequel, I did like the car chases and races in 2 FAST 2 FURIOUS. The cars look cool and how the races were set up and executed were visually pleasing. I thought the first street race was pretty cool. The chase for Carter’s package in his stolen corvette is actually pretty darn great, capturing some intensity and excitement. I really liked the final set piece with all the cop cars and all the cars coming out of the garage to intercept them away from Brian and Roman as they chased down Carter. I wish some of the moments were shot better [less close ups of eyes and meters would have been beneficial], but they were placed and paced within the film well. - The film looks nice. While the direction is generic and uninspired [surprising since it’s by John Singleton, who’s directed some great stuff like BOYZ IN THE HOOD], I think the cinematography is actually quite beautiful in 2 FAST 2 FURIOUS. Matthew F. Leonetti, who has done work on 1985’s COMMANDO and 1997’s MORTAL KOMBAT: ANNIHILATION, really makes the picture pop with vibrant colors and nice scenery shots that help make the Miami setting set this sequel apart from the grittiness of the California setting in THE FAST AND THE FURIOUS. With the film already embracing that it's eye candy and nothing of substance, the cinematography compliments that pretty perfectly. - Fast paced. For a 108 minute flick, 2 FAST 2 FURIOUS never wears out its welcome. It moves as fast as the cars in the film, going from scene to scene without much of a thought. In fact, the film feels shorter than its running time. So while there’s not much to this sequel, at least it doesn’t bore you and does what it needs to do without a second thought. MISSES - Paul Walker. I don’t hate Paul Walker. As a matter of fact, I think he is capable of being a decent actor given the right material. 2001’s JOYRIDE and 2006’s RUNNING SCARED prove that Walker can add to a film rather than take away from it. Plus, I’m sure those who see a film, just because he’s in it, want to look at his pretty boy appearance anyway. But man, Walker is freakin’ TERRIBLE in this film. And he’s the STAR! Walker makes Keanu Reeves look like Daniel Day-Lewis in the process. The guy is a black hole of charisma, sucking in everyone around him with his blandness and tired delivery. And when he attempts to be “cool” by saying “bro” every other line, Walker just embarrasses himself. There’s a reason why Vin Diesel was brought back to this franchise besides a sweet paycheck. The producers realized that Walker needed someone to balance his non-charisma. As much as Tyrese tries to compensate, it just brings out Walker’s dull performance more than it should have. It’s sad because I didn’t think Walker was all that terrible in the first film. But he’s just lame here and helps bring the sequel down. - No soul.THE FAST AND THE FURIOUS didn’t hide the fact that it’s a silly film that focuses more on the style than on the substance of its story. But the actors and the crew on the film really cared about the product and created a level of charm that makes THE FAST AND THE FURIOUS a modern guilty pleasure for action seekers. While the lack of plot was an issue, at least it followed POINT BREAK’s template [to a lesser extent] well enough for viewers to kind of care about what they were watching. The same can’t be said about 2 FAST 2 FURIOUS. While this sequel also focuses more on style than substance, at least the first film had a bit of depth to it when it came to the tension between Brian and Dom and Brian’s dilemma with his decision that sets forth this sequel. You don’t get any of that here. It tries to do similar stuff, like an attempt to focus on the rift between childhood best friends Brian and Roman – as well as make viewers believe that undercover agent, Monica Fuentes, may be working too undercover and forgetting her original mission by sleeping with the enemy. But these two things never go far enough and just end up being stereotypical plot points that don’t resolve themselves in a satisfying way. The Brian and Roman issue quickly becomes a non-issue in a couple of scenes after it’s introduced in the story, as if it never was there to begin with. And Monica seems torn with being a good undercover agent, sleeping with Carter, and flirting with Brian – yet none of it means much at the end, as it’s all forgotten and everything is back being hunky-dory. If you’re just gonna half-ass something, then why bother to begin with? Besides, fulfilling these two subplots in particular to their potential would have benefited the sequel in the long run. In fact, none of the characters here feel like real people. They’re all stereotypes. They’re all cartoons. They’re all generic roles that need to be filled in order for this “story” to play out the way it does. And while this franchise isn’t realistic at all really, at least the first film was kind of grounded. This sequel is just way too silly as we follow characters we could really care less about. Was I entertained? Sure, because it’s brainless and sometimes I don’t want to think about what I’m watching. And the dialogue, while really annoying, made me chuckle because I couldn’t believe grown ass men actually think it’s cool to say “bro” so many times, not realizing it lost its meaning by the fifth time it’s uttered [and this is within a two minutes of screen time!]. But there’s no real reason for this film to exist. Yes, THE FAST AND THE FURIOUS was created to focus on the Brian O’Connor character. But the first film established that Dominic Toretto was the character with the real story. And he’s the one we ought to be following, not bland Brian. While Vin Diesel couldn’t film the sequel due to filming 2004’s A MAN APART, I’m sure he read the script and realized that the money wasn’t worth it. Don’t blame him, since he probably wouldn’t have had anything interesting to do besides drive cars. And John Singleton obviously directed this film for a paycheck. The man can direct a great flick with substance, but none of that is found here. Still, I guess every director just wants to make a fun film every once in a while. I just wish it clicked better than it does. There’s nothing wrong with the direction really at all. The editing is fine. The use of CGI is okay [although having CGI cars is kind of silly, don’t you think?]. The pacing is great. It’s just generic storytelling though. There’s no heart. There’s no soul. 2 FAST 2 FURIOUS is a cash-in sequel. Nothing more. Nothing less. I can’t reward laziness. THE FINAL HOWL 2 FAST 2 FURIOUS is a mediocre sequel that ends up being pretty unmemorable by the end of it. Sure it breezes by. Sure the performances are so laughable, you’re entertained throughout. And the action is pretty good, which isn’t surprising. But there’s no substance here, and the film is dragged down by a lead actor who is too plain to be carrying any sort of action film. I’m not expecting anything thought provoking or deep. But at least have a plausible script that will grab me and make me feel something. Watching multiple car chases and races within two hours can only go so far until you’re wanting something else. It’s really too bad the screenplay wasn’t better, because this could have been a better “buddy cop” film than the final result. Not the worst film out there [or even the worst sequel], but a disappointment compared to the original.
- It feels fresh. While THE FAST AND THE FURIOUS: TOKYO DRIFT isn't a great movie, at least it attempts to differentiate itself from the two films that came before it. While the first THE FAST AND THE FURIOUS took its story from POINT BREAK, TOKYO DRIFT decides that THE KARATE KID is the way to go. You know how the story goes: Teenager moves to a new place, has trouble fitting in, falls in love with a girl, has issues with the girl's (ex)boyfriend, gets trained by someone more wise to defend himself against the girl's (ex)boyfriend, and gets the girl and the respect he wanted at the end. Sean is Daniel. Han is Mr. Miyagi. Ali is Neela. Johnny is Takashi. And instead of martial arts, it's cars. And while I could criticize this sequel for taking a well-known template and using it as its own, at least it allows the franchise to feel somewhat new and different.
- The cast. Like every other THE FAST AND THE FURIOUS film, the acting is never the highlight of the film - at least intentionally. But I do like the cast here for the most part. And honestly, the acting here isn't all that terrible. Is it inspiring? Not even close. But given what the script allows the actors to do, the actors do fine in their respective roles.
- Not exciting enough. The downside to Justin Lin's direction is that the action scenes don't seem as good as in previous versions. Maybe it's because the way Lin shoots scenes in this film tend to be more subtle than Cohen or Singleton. But the race and chase scenes don't seem to amp you up as they would in previous versions. While the slower versions are directed pretty decently, the action sequences lack a certain something. I'm not sure if it's because of the editing, or the framing, or just the choreography of these sequences. But they just seem pedestrian. The last race, in particular, should feel thrilling and dramatic. Instead, you don't feel much for it at all. It's weird because the race actually has the best reason for even happening here than in the previous two, yet the buildup isn't enough to make the final sequences mean more than they should. Instead, it just feels like been there, done that.
I used to really dislike this sequel back when I watched it in 2006. But after watching it again, I actually didn't mind it too much. TOKYO DRIFT is not a great film, but it's not a bad one either. It does have some things going for it, like a decent cast, a fresh director, and a newer feel from the first two films. But there isn't enough action to distract from a shallow screenplay. And what's even worse, the action isn't all that exciting or that fun to watch. Still, it's a decent flick and time waster. And since it supposedly takes place after the events of the current sequels, you don't really need to watch it to catch up with the current timeline. Still, TOKYO DRIFT is probably better than it has any right to be.
