Fast X is closer to fan fiction or self-parody than the real deal.
Universal’s 4K disc captures F9’s big spectacle with a perfect audio/visual presentation.
At its best, F9 delivers the most spatially coherent, dynamic car scenes in the series to date.
The film emphasizes its heroes’ inter-personal dynamics, and functions best as an extended team-building exercise.
Comic-Con 2013 absolutely cements these cultural developments, where future films aren’t even contingent upon the previous film’s success.
Understanding Screenwriting #112: Before Midnight, Iron Man 3, Stories We Tell, Mad Men, & More
People who saw the film wondered if they met up again. So did the filmmakers.
Justin Lin strives to approximate something like Ocean’s Eleven for petrosexuals.
Motorway takes an appropriately soft-shoe approach to one of the more endearing action-film premises in recent memory.
Raskin honed his craft working as an assistant editor for Tarantino’s late editor Sally Menke.
Fast Five and I have something in common: We both have no use for the first four Fast and the Furious films.
Whereas John Singleton’s 2 Fast 2 Furious had fun indulging in incessant auto-erotica, there’s little sexiness here.
The film is a jovial endeavor aimed at once again addressing the meager and disparaging big-screen representation of Asian-Americans.
Similar to its two predecessors in melodrama and gloss, the film follows in its own tradition of quality.
Annapolis is an extended “Be All That You Can Be” advertisement for the character-building benefits of military service.
Too bad the film isn’t as politically subversive as it thinks it is (or should have been).
Its rage is problematic but the film itself is a breath of fresh of air.