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Chris Sawin (602 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Aug 6, 2019
Before you read this review of Fast & Furious Presents: Hobbs & Shaw, I just want you to know that I can’t stand this franchise. I gave up keeping up with them after Furious 7 and felt like the Fast & Furious franchise peaked/was tolerable around Fast Five and never really went anywhere worthwhile before or since. I have not seen all the films and really only seemed to watch every other entry, but whether you’re in a heist or a drag race that lethal dose of masculinity being projectile vomited all over you by an entire cast (women included) for two hours straight is dull and tiresome. In fact, just call this franchise “Dull & Tiresome” from here on out and I doubt anyone would notice. It’s even got “tire” in there for car…stuff.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Ignoring the fact that screenwriters Chris Morgan (writer of every Fast and Furious entry since Tokyo Drift) and Drew Pearce (writer and director of the flop known as Hotel Artemis) were involved, I actually like David Leitch’s work (co-director of John Wick, director of Deadpool 2 and Atomic Blonde) even if he is probably going to screw up that Enter the Dragon remake. The trailers also made Hobbs & Shaw look like the stupid kind of action film I might enjoy; a bunch of fight scenes and chase sequences that give the middle finger to physics. But when a big moment in the film is a group of the good guys willingly bringing a bunch of sharp sticks to a battle where the villains are loaded to the teeth with highly advanced firearms, then you know you’ve jumped headfirst into the deep end of ridiculous without a special needs helmet.
The film is quick to point out that even though Luke Hobbs (Dwayne Johnson) is in Los Angeles and Deckard Shaw (Jason Statham) is in London, they’re essentially similar characters. Hobbs is a big dude who likes to Hulk smash everything while Shaw likes to think he has more class and finesse to his ass beatings and exaggerated torture devices. Despite their different cultures and supposedly unique way of approaching their work, they do nothing but talk trash, jack things up, simultaneously kick unsuspecting guys in the balls, and track stuff that needs tracking because that’s what trackers do. They reluctantly join forces and are in constant competition with one another to find some CT17 virus, which is currently inside Shaw’s MI6 operative sister Hattie Shaw (Vanessa Kirby) and is being hunted by formerly dead, cyber genetically altered, and current superhuman criminal mastermind Brixton Lore (Idris Elba). Don’t get too attached to the whole virus thing since even the film can’t keep up with what the hell it’s supposed to be.
The highlight of Hobbs & Shaw is the amount of cameos it’s able to squeeze into its excruciating two-hour-and-fifteen-minute runtime. The film utilizes about a third of the cast of a certain sequel to a certain film starring a certain Regenerating Degenerate and that cast is responsible for the humor that works best in whatever this spinoff is supposed to accomplish. Idris Elba is unbelievably cool as Brixton Lore. He’s this cocky and unstoppable bad ass who has a history with Shaw and his car chase on his self-driving motorcycle where he slides under a bus in slow motion is too sick for words. Vanessa Kirby has this on-screen presence that outshines the consistent bickering between Hobbs and Shaw. She’s the one capable female character in the film (Helen Mirren sitting behind glass doesn’t count) who seems to be the only one thinking logically, but it took her doing the dumbest thing imaginable at the beginning of the film to get that way.
This action film smorgasbord rides on the chemistry between Dwayne Johnson and Jason Statham, but that gets old as soon as they start sort-of working together. Their incessant ribbing of each other, desire to always outdo one another, and nonstop unfiltered machismo being this palpable elephant in the room leads to nothing but verbal dick size comparisons and leaves you thinking that maybe they’ll make out or grope each other by the end of the film. Spoiler alert: maybe they’re saving that for the sequel.
There isn’t enough of a differentiation between action sequences in Hobbs & Shaw to make it feel worthwhile. There’s chemistry between the cast that is undeniable and some of its outrageousness is entertaining, but it all begins to feel similar and falls apart far sooner than it should. For those who care, there is a mid-credits and after-credits scene but neither is surprising. The cheesy motivational speeches, forced heartfelt stories, and, “all technology in the world doesn’t beat heart,” mumbo jumbo doesn’t help matters. The supposed story for this film is basically a dunce cap disguised as a pocket protector. There are intelligent elements used in ludicrous ways and maybe that’s what could describe the Fast & Furious franchise as a whole. You can bury a diamond in a dog turd and say it’s extravagant and that it’s valuable, but it’s still a dog turd that smells awful and lingers long after it’s been flushed away.
Emma @ The Movies (1786 KP) rated The Aftermath (2019) in Movies
Jun 22, 2019 (Updated Sep 25, 2019)
Is there a period piece that Keira Knightley has ever turned down? After seeing her in Colette I retrieved her from the Nutcracker trash can I'd thrown her into and actually looked forward to whatever I was going to see her in next. I sort of wish it hadn't been this film though.
I'm conflicted. The Aftermath has some great pieces, but at the same time it's rather forgettable. Talking to a friend about films I'd seen this month I already forgot I'd seen it, and that doesn't normally happen this quickly.
Having seen the trailers I had come away with a rather definite idea of what the film was going to be like... I was actually surprised, the wool was properly pulled over my eyes. I had a completely different idea of the outcome. I really don't want to spoil it, if you've seen it message me and we'll waffle about it.
Alexander Skarsgård was incredibly good in this, I think I might be in love. I haven't seen him in anything recently but I might have to finally watch Tarzan. For the most part Stephen is a restrained and sensible character, so when he has an outburst of emotions it's all the more powerful. When he shows the Morgans round his house like a sad estate agent I felt that awkwardness.
Keira Knightley/Rachel isn't the leading lady I was looking for, as a character she is dislikeable. She's quick to judgment and takes for granted and abuses all the privileges that she has. I think this is partly what surprised me about the film, I hadn't expected her to be this way. In a film involving war I wouldn't have expected the female character to be the antagonist.
I'm pleased to see Jason Clarke again, he's going from strength to strength. Lewis Morgan is warm and accepting in contrast to the coldness of his wife. More strong emotions coming from our other male lead. Most feel like they're done perfectly, one outburst stuck out but I'm not sure that "out of character" is quite the right way to describe it.
The movie's handling of the Morgan's son was done nicely with a great link used to tie it together. Getting such a powerful moment out of such a small detail was amazing. The use of prop and flashback scenes came together very well.
The ending though... like the trailer I like that we're given something that doesn't necessarily hold with the expected. (Again, if you've seen it then message me so I can tell you how I wanted it to end.) I can't say I was happy with the end, it flies in the face of the traditional take on these sorts of films. There's an ending I would have preferred Rachel to have over the actual one just so that I could go "Ha! Serves you right!" but it wouldn't have been satisfactory for the other two points of the triangle. I'm not sure that any outcome could have left me content though.
There are some very striking visuals mixed through the film, most take part in the ruins of the city where we see the community living through the devastation of the city. I was intrigued to see that it was a BBC film, they usually have a certain feel to them but it wasn't really present in this.
As much as I enjoyed elements of this I can't say I would be fussed about seeing it again, if anything I think a second watch would remind me how annoying I found the ending.
What you should do
If you want to see Keira Knightley's character disrespecting her marriage then I would suggest watching Colette instead. However, if you want to have some strong feelings about Alexander Skarsgård then definitely see this one.
Movie thing you wish you could take home
It goes without saying that I would like Alexander Skarsgård, but failing that then the ability to play the piano beautifully will have to do.
I'm conflicted. The Aftermath has some great pieces, but at the same time it's rather forgettable. Talking to a friend about films I'd seen this month I already forgot I'd seen it, and that doesn't normally happen this quickly.
Having seen the trailers I had come away with a rather definite idea of what the film was going to be like... I was actually surprised, the wool was properly pulled over my eyes. I had a completely different idea of the outcome. I really don't want to spoil it, if you've seen it message me and we'll waffle about it.
Alexander Skarsgård was incredibly good in this, I think I might be in love. I haven't seen him in anything recently but I might have to finally watch Tarzan. For the most part Stephen is a restrained and sensible character, so when he has an outburst of emotions it's all the more powerful. When he shows the Morgans round his house like a sad estate agent I felt that awkwardness.
Keira Knightley/Rachel isn't the leading lady I was looking for, as a character she is dislikeable. She's quick to judgment and takes for granted and abuses all the privileges that she has. I think this is partly what surprised me about the film, I hadn't expected her to be this way. In a film involving war I wouldn't have expected the female character to be the antagonist.
I'm pleased to see Jason Clarke again, he's going from strength to strength. Lewis Morgan is warm and accepting in contrast to the coldness of his wife. More strong emotions coming from our other male lead. Most feel like they're done perfectly, one outburst stuck out but I'm not sure that "out of character" is quite the right way to describe it.
The movie's handling of the Morgan's son was done nicely with a great link used to tie it together. Getting such a powerful moment out of such a small detail was amazing. The use of prop and flashback scenes came together very well.
The ending though... like the trailer I like that we're given something that doesn't necessarily hold with the expected. (Again, if you've seen it then message me so I can tell you how I wanted it to end.) I can't say I was happy with the end, it flies in the face of the traditional take on these sorts of films. There's an ending I would have preferred Rachel to have over the actual one just so that I could go "Ha! Serves you right!" but it wouldn't have been satisfactory for the other two points of the triangle. I'm not sure that any outcome could have left me content though.
There are some very striking visuals mixed through the film, most take part in the ruins of the city where we see the community living through the devastation of the city. I was intrigued to see that it was a BBC film, they usually have a certain feel to them but it wasn't really present in this.
As much as I enjoyed elements of this I can't say I would be fussed about seeing it again, if anything I think a second watch would remind me how annoying I found the ending.
What you should do
If you want to see Keira Knightley's character disrespecting her marriage then I would suggest watching Colette instead. However, if you want to have some strong feelings about Alexander Skarsgård then definitely see this one.
Movie thing you wish you could take home
It goes without saying that I would like Alexander Skarsgård, but failing that then the ability to play the piano beautifully will have to do.
Bob Mann (459 KP) rated Fast & Furious Presents: Hobbs & Shaw (2019) in Movies
Sep 28, 2021
Good popcorn nonsense.
“Remember who we are. The Shaw family. We never, never, never give up.”
(That title is especially for my friends the Shaw family!).
Well, the patchy British summer’s just about up, and autumn’s chilly fingers are touching up the UK. And yet I still hadn’t seen the summer hit “Hobbs and Shaw”! Until last night.
It’s utter nonsense of course, like most of the “Fast and Furious” films, but I have to admit it’s done with some tongue in cheek style.
The plot
A vicious cyber-soldier, Brixton (Idris Elba) tries to steal a deadly virus but is thwarted by brave MI6 agent Hattie (Vanessa Kirby). To help recover the virus, Deckard Shaw (Jason Statham) is recruited in London by CIA agent Loeb (Rob Delaney, the “non-super” hero Peter in “Deadpool 2“). In an interesting piece of related casting, the Eteon Director (Champ Nightengale – LoL, a cameo for someone far more famous) recruits Luke Hobbs (Dwayne Johnson) in LA as a part of the team.
Both agents know they are heading for trouble… but do they really appreciate how much the pair hate each other’s guts?
The trail leads from London to the Ukraine to (a very picturesque) Samoa in a race against time to both defeat the undefeatable Brixton and save Hattie: now a ticking time bomb of global destruction. And Hattie has relations!
Absurd stunts.
As a “Fast and Furious” film there are of course some truly absurd car stunts involved and – unlike the Mission Impossible films – you are never quite sure what is “real” and what is CGI generated. Which is a shame.
For me, the gold standard for chases remains Tom Cruise‘s chase through Paris in “Mission Impossible: Fallout“. Here, the car chase through London – whilst impressive – never quite reaches the seat clenching tension of MI6.
And a final stunt with a helicopter is – I’m sorry – just plain ridiculous. If a chopper can partially lift 5 x load then why can’t it completely lift 1 x load. Give me a break!
To round things off, there is one of the most unbelievable “100% survival of a car crashing off a cliff” scenes in movie history!
Acting
The acting is largely from the Arnie Swartzenegger school, with Johnson and Statham giving it the old shtick. Dwayne Johnson may be one of Hollywood’s most bankable stars (the boy has done REAL good for himself), but he can’t do serious acting. His “pathos” scenes with his daughter (a vibrant Eliana Sua) are excruciating.
Dropping in as class acts are Helen Mirren as the elder Shaw and the excellent Vanessa Kirby as Hattie. Kirby gets a lot more to get her teeth into than in the last Mission Impossible movie, and is really very good. Mirren is rather too posh to be the incarcerated East End con, but is a fun turn nevertheless.
Also excellent, as always, is Eddie Marsan as the key scientist. Marsan really turns in a splendid performance in every film he’s in. He’s top of “Division 2” in my books. Never the star, but always starring.
Mexican actress Eiza González (from “Baby Driver“) also crops up as an unfeasibly good-looking Russian femme fatale.
“I hate you”. “No, I hate you”. Blah, blah, blah.
Writers Chris Morgan and Drew Pearce do a good job at keeping the script light and fluffy. The animosity between Hobbs and Shaw is played to 110%, and for me the interplay frankly became a bit tiresome. But it’s a fun-enough film to entertain, although it’s bladder-testing running time of 2 hours 17 minutes is at least 30 minutes too long. There is a natural Ukraine-based finale, but it’s not taken, and the film goes on… and on… and on…. and on. Enough already.
I’ve said many times before that comedies shouldn’t last more than 90 minutes, and although an “action film” this is fundamentally a comedy and the rule should apply. It would have been a much better film if it was compacted.
Sexism diverted.
I did criticize “Fast and Furious 8” for scenes that brazenly objectified women. And there was a moment – just one, fortunately – with a gyrating bikini-clad beauty – where I thought “uh, oh” – this franchise has not moved with the times.
But actually, this was the only scene where I thought that. Cinema has moved along massively in the last two years, driven by the “Times Up” movement. Here the women are all given pretty leading “kick-ass” roles, and they generally show the muscle-bound morons up, often saving their arses.
Final Thoughts.
It’s summer popcorn nonsense, but its well done popcorn nonsense. Probably not a film high on my list of films I want to see again, but as an entertainment vehicle it was not too shabby.
(That title is especially for my friends the Shaw family!).
Well, the patchy British summer’s just about up, and autumn’s chilly fingers are touching up the UK. And yet I still hadn’t seen the summer hit “Hobbs and Shaw”! Until last night.
It’s utter nonsense of course, like most of the “Fast and Furious” films, but I have to admit it’s done with some tongue in cheek style.
The plot
A vicious cyber-soldier, Brixton (Idris Elba) tries to steal a deadly virus but is thwarted by brave MI6 agent Hattie (Vanessa Kirby). To help recover the virus, Deckard Shaw (Jason Statham) is recruited in London by CIA agent Loeb (Rob Delaney, the “non-super” hero Peter in “Deadpool 2“). In an interesting piece of related casting, the Eteon Director (Champ Nightengale – LoL, a cameo for someone far more famous) recruits Luke Hobbs (Dwayne Johnson) in LA as a part of the team.
Both agents know they are heading for trouble… but do they really appreciate how much the pair hate each other’s guts?
The trail leads from London to the Ukraine to (a very picturesque) Samoa in a race against time to both defeat the undefeatable Brixton and save Hattie: now a ticking time bomb of global destruction. And Hattie has relations!
Absurd stunts.
As a “Fast and Furious” film there are of course some truly absurd car stunts involved and – unlike the Mission Impossible films – you are never quite sure what is “real” and what is CGI generated. Which is a shame.
For me, the gold standard for chases remains Tom Cruise‘s chase through Paris in “Mission Impossible: Fallout“. Here, the car chase through London – whilst impressive – never quite reaches the seat clenching tension of MI6.
And a final stunt with a helicopter is – I’m sorry – just plain ridiculous. If a chopper can partially lift 5 x load then why can’t it completely lift 1 x load. Give me a break!
To round things off, there is one of the most unbelievable “100% survival of a car crashing off a cliff” scenes in movie history!
Acting
The acting is largely from the Arnie Swartzenegger school, with Johnson and Statham giving it the old shtick. Dwayne Johnson may be one of Hollywood’s most bankable stars (the boy has done REAL good for himself), but he can’t do serious acting. His “pathos” scenes with his daughter (a vibrant Eliana Sua) are excruciating.
Dropping in as class acts are Helen Mirren as the elder Shaw and the excellent Vanessa Kirby as Hattie. Kirby gets a lot more to get her teeth into than in the last Mission Impossible movie, and is really very good. Mirren is rather too posh to be the incarcerated East End con, but is a fun turn nevertheless.
Also excellent, as always, is Eddie Marsan as the key scientist. Marsan really turns in a splendid performance in every film he’s in. He’s top of “Division 2” in my books. Never the star, but always starring.
Mexican actress Eiza González (from “Baby Driver“) also crops up as an unfeasibly good-looking Russian femme fatale.
“I hate you”. “No, I hate you”. Blah, blah, blah.
Writers Chris Morgan and Drew Pearce do a good job at keeping the script light and fluffy. The animosity between Hobbs and Shaw is played to 110%, and for me the interplay frankly became a bit tiresome. But it’s a fun-enough film to entertain, although it’s bladder-testing running time of 2 hours 17 minutes is at least 30 minutes too long. There is a natural Ukraine-based finale, but it’s not taken, and the film goes on… and on… and on…. and on. Enough already.
I’ve said many times before that comedies shouldn’t last more than 90 minutes, and although an “action film” this is fundamentally a comedy and the rule should apply. It would have been a much better film if it was compacted.
Sexism diverted.
I did criticize “Fast and Furious 8” for scenes that brazenly objectified women. And there was a moment – just one, fortunately – with a gyrating bikini-clad beauty – where I thought “uh, oh” – this franchise has not moved with the times.
But actually, this was the only scene where I thought that. Cinema has moved along massively in the last two years, driven by the “Times Up” movement. Here the women are all given pretty leading “kick-ass” roles, and they generally show the muscle-bound morons up, often saving their arses.
Final Thoughts.
It’s summer popcorn nonsense, but its well done popcorn nonsense. Probably not a film high on my list of films I want to see again, but as an entertainment vehicle it was not too shabby.