Eight years ago who would have thought that "The Fast and the Furious" would spawn three sequels and still be running strong? Things didn't look hopeful when Vin Diesel opted out of headlining the second film due to newfound stardom and an inflated ego, but after a brief appearance in the third feature "Tokyo Drift", he's back to his old tricks as bad boy Dominic "Dom" Torretto. Paul Walker returned for the second film and bowed out of the third, yet after appearing in hits like "Eight Below" and misses like "Into the Blue", he too, like Diesel, is making a humble return.
I guess it's safe to say the appeal of these films is fast cars and hot women, which go hand in hand in any environment whether it be L.A., Miami or Tokyo. The thing is, these films have a paint by numbers plot if there was one and the final results are a series of images involving either speed or scantily clad ladies. These movies are obviously geared towards guys, but I can't help but wonder why every car race in every film features women making out with each other. Yeah, that is what horny young guys want to see, but its become a running gag in these films that where there are fast cars there are also bisexual and lesbian gals.
Though Diesel appeared in a brief cameo during the final scene of the previous film, the story of "Fast & Furious" appears to take place slightly before those events, with Dom and his girlfriend Letty (Michelle Rodriguez) hijacking a gasoline land train in the Dominican Republic with several pals, including Tokyo Drift's Han (Sung Kang). Though there is plenty of action to be had, the opening sequence turns out to be the most exciting bit in the film. After dividing up their shares of the profits, Dom, still on the run from the law, decides its safer to go his own way, leaving Letty behind.
Flash forward to some time later (perhaps after or during the storyline of 'Tokyo Drift') and FBI agent Brian O'Connor (Walker) is chasing a suspect, hoping to get intel on a drug smuggling ring. The ring is run by the mysterious Arturo Braga, who hires the fastest drivers in L.A. to get his product into the country. The problem is no one knows who he is or what he looks like and Brian is hoping to infiltrate the organization to identify him. Brian must really be FBI agent material since the last we saw him he was planning to open his own car detailing business with a childhood buddy (Tyrese) at the end of the second film. It's a little strange that his superiors have brought him back into the fold since after all, he did let
Dom go free in the original film and was forced to go on the run by the second. Yet they don't think he'll be able to identify Braga since there is another obstacle in his way.
When Dom gets a message from his little sister Mia (Jordanna Brewster) that Letty's been murdered, he takes the risk of coming back into the U.S. to find out who killed her. Apparently after parting ways in D.R., she landed a job as a driver for Braga and the cost was her life. Both intent on bringing Braga down, when Dom and Brian finally cross paths, there's still friction between them. You would think Dom would cut Brian a little slack, because after all, the guy was forced to go on the run for letting him walk. He not only still considers Brian a "buster", but will do whatever it takes to infiltrate Braga's game to destroy it himself.
Braga's top guy is Ramon Campos (John Ortiz) who not only commands a small army but is looking for drivers "who would sell their abuelita to get a spot" on his team. To do so Dom and Brian must go head to head and that means more fast cars, more hot women, more racing. Even though there's sensuality in the form of those various girls making out, Brian gets some romance by trying to rekindle his relationship with Mia, while Dom catches the eye of Campos's associate Giselle (Gal Gadot), who questions whether he appreciates women as much as cars. I was actually pleased that some maturity and restraint was actually shown in this aspect of the story, with Dom, still mourning Letty, choosing not to jump into bed with this new woman. (At least not before the end credits.)
As I said before, audiences don't go see these films for any form of a story or plot, though a little creativity wouldn't hurt. Just stick in all of those familiar elements and a soundtrack featuring the latest artists and the young crowd eats this stuff up. That may be why of all four films I enjoyed 'Tokyo Drift' the most. The cast was comprised of characters basically the same age as the audience these films are made for and there was no plot involving drug dealers, hijacking or smuggling, just high school kids racing for turf and street cred. When things become convoluted by Diesel's machismo, tough guy supporting players like Ortiz and his henchman Laz Alonzo or figuring out just who the bad guy is, it ends up unintentionally comical. Diesel and Walker never really had chemistry to begin with, so when they try to share their feelings (or attempt to act) by looking off into the distance instead of at each other, it's impossible not to laugh.
There's also a chase across the desert that continues through a series of tunnels running inside a mountain in Mexico that makes no sense at all. I guess its not really supposed to, but that doesn't mean I can't wonder just who built those tunnels and how long did it take them to do it?
Justin Lin, who showed promise with his 2003 debut "Better Luck Tomorrow" and also helmed 'Tokyo Drift', seems to have a better handle on the material than previous directors Rob Cohen and John Singleton. He's smart enough not to cut action sequences together like a music video, but still make it visually exhilarating. That's really what this franchise is all about, visual thrills. Whether it be fast cars or girls making out, if that's your pleasure 'Fast & Furious' certainly delivers.
Verdict: Fast & Furious is set between the second and the third film where the character Han (Sung Kang) is introduced before he dies in The Fast and the Furious: Tokyo Drift.
K.V Anand pushes the commercial cinematic envelope and brings a savvy freshness in treatment and packaging hitherto unexplored in Ayan. It’s breezy, racy, fun ride that keeps you glued to your seats for 2 hours and 38 minutes.
The story may be old as the hills but the narration and the way it unfolds is perfect. The first half is fast and furious, and makes you want more but post interval the proceedings slow down a bit, due to introduction of essential commercial elements like sentiments and an item number.
Deva (Surya) is a post graduate living in North Madras area with his mother (Renuka) who runs a grocery shop. She wants him to get a government job and does not want him to be like his father who was a petty smuggler. However Deva becomes the henchman of Das (Prabhu), the number one smuggler who operates a ‘kuruvi’ (carrier of smuggled goods) service for jewelers like Nemichand and also does video piracy.
In the pre-dominantly Marwadi area, he has a bitter enemy in Kamlesh (Akashdeep Saigal), who can’t digest the success of Deva- Das combination who smuggles diamonds from Congo. Kamlesh is power hungry and will do anything to be one-up on his arch-rival. Soon Deva falls in love with Yamuna (Tamannaah), his friend Chitti’s (Jagan, Vijay TV ‘Njandu’ fame) sister.
Meanwhile Kamlesh due to his greed to get rich and powerful starts dealing in narcotics, which is against the principles and ethics of Deva-Das combo. All this leads to a bloody confrontation between the two as they go for each other’s throat.
The circumstance leading to Surya meeting Tamannaah for the first time due to the antics of Jagan is a scream. Watch the action and chew on your popcorn as the adrenaline goes pumping. Here Surya is robbed of his diamonds under the orders of the villain Akashdeep Saigal by six tough African guys on the streets of Congo and the subsequent quick running on the streets and roofs and fighting is superb. Franz Spilhaus the action coordinator deserves a pat on his back for the spellbinding three minutes Parkour style chase that you may have seen in a Jackie Chan or James Bond flick.
Harris Jayaraj’s music is peppy and the background score is awesome. The first introduction song Pala Pala… is good, picturised with Surya in all the get-up’s he has done in various films. The Namibia song Nenje Nenje.. is melodious and is sheer visual delight shot extremely well in fantastic desert bordering the sea location in Namibia.
M.S Prabhu’s camera is eye catching whether it is the sepia colour tone in the fight scene or the top angle in the songs, it’s his best work. Rajeevan’s set design to the minutest detail gives you the feel that it is real. Antony’s editing for a change is not in your face and has gone for traditional cut to cut, which goes with the theme.
The casting is perfect. Prabhu as Das the good hearted smuggler is constrained and dignified. Ponvannan as a customs officer is aptly cast, Renuka as Surya’s mother is life like, Karnas is subdued, while Jagan steals the show. However Koena Mitra’s looks wooden, the song sticks out like a sore thumb.
Tamannaah looks beautiful and has arrived as the new eye candy of Tamil cinema and is improving with each film. She has emerged as a firecracker performer, instinctive and uninhibited as Yamuna. Akashdeep Saigal the new villain with his flowing long hair and stylish performance, with Ajay Kapoor (Aadi of Kolangal serial) dubbing for him is refreshing.
Surya belts out a convincing performance as the quintessential action hero and carries the film to the winning post. He looks great and you cannot take your eyes off him. Relying on his eyes and his expressions especially in those romantic scenes with Tamannaah, he shines.
Verdict: The film works due to Anand’s fresh and innovative handling of a wafer thin story. The Surya- Tamannaah fluffy romance is funny and enjoyable. The chemistry between them is terrific thanks to the simple bits of screenplay writing of the director and his dialogue writer Shubha. Move over Vivek & Vadivel, Jagan and Surya is enough to bring the house down with their one liners and neat comedy track, which is the major plus point in the film.
