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BankofMarquis (1832 KP) rated Venom: Let There Be Carnage (2021) in Movies
Oct 7, 2021
Suffers from Sequel-itis
If you ever heard of the term “Sequel-itis” and wondered what a good example of film suffering from this malady would be, look no further than VENOM: LET THERE BE CARNAGE.
The sequel to the surprisingly well made - and well acted - 2018 VENOM that introduced audiences to the (sometimes) villain, (sometimes) anti-hero, VENOM and the human/symbiot that he has bonded to (it makes sense in the first film) - this sequel looks and feels like a quick “money-grab” that is keeping this character “warm” for bigger things (I hope) down the road.
Directed by famed motion capture expert, Andy Serkis, VENOM: LET THERE BE CARNAGE feels like a movie that was directed by a Special FX veteran for this film is long on special effects and short on what makes a film work - plot and character.
And that’s too bad for the 2018 VENOM film was a surprise in that while it had it’s CGI moments (and plenty of them), it also had interesting plot and characters and took full advantage of two of the better actors working today - Tom Hardy and Michelle Williams.
The sequel looked promising enough as both Hardy and Williams were back and Woody Harrelson was cast as the main villain (with Naomi Harris along as the villain’s sidekick) so some of the ingredients were there for a quality sequel.
Unfortunately, this sequel leaned heavily into the CGI-ness of the first film and made the CGI Alien Venom the focal point of the story, relegating the humans to the back. No actor was pushed further to the back than Williams who was stuck with a weak “damsel in distress” arc while Harrelson and Harris take turns over-acting the other making their pair of villains some of the weakest in recent comic-book movies memory.
And then there is the performance of Hardy as Eddie Brock. He is sleepwalking his way through this film, looking like he has very little interest in what is going on and just wants to grab his paycheck and get home.
Some of these sins could be forgiven if the CGI elements - and the battles between Venom and Carnage - are interesting. Unfortunately, they just are not - they are “fine”, but nothing interesting or original, so this film is destined to get washed off the shore (and memory) as quickly as a sandcastle is washed away on a beach.
If you are going to check out this flick, make sure you stay for the “end credits” scene (which is only, thankfully, about 2 minutes into the credits), it is the best part of this film.
Letter Grade: C+
5 stars (out of 10) and you can take that to the Bank(ofMarquis)
The sequel to the surprisingly well made - and well acted - 2018 VENOM that introduced audiences to the (sometimes) villain, (sometimes) anti-hero, VENOM and the human/symbiot that he has bonded to (it makes sense in the first film) - this sequel looks and feels like a quick “money-grab” that is keeping this character “warm” for bigger things (I hope) down the road.
Directed by famed motion capture expert, Andy Serkis, VENOM: LET THERE BE CARNAGE feels like a movie that was directed by a Special FX veteran for this film is long on special effects and short on what makes a film work - plot and character.
And that’s too bad for the 2018 VENOM film was a surprise in that while it had it’s CGI moments (and plenty of them), it also had interesting plot and characters and took full advantage of two of the better actors working today - Tom Hardy and Michelle Williams.
The sequel looked promising enough as both Hardy and Williams were back and Woody Harrelson was cast as the main villain (with Naomi Harris along as the villain’s sidekick) so some of the ingredients were there for a quality sequel.
Unfortunately, this sequel leaned heavily into the CGI-ness of the first film and made the CGI Alien Venom the focal point of the story, relegating the humans to the back. No actor was pushed further to the back than Williams who was stuck with a weak “damsel in distress” arc while Harrelson and Harris take turns over-acting the other making their pair of villains some of the weakest in recent comic-book movies memory.
And then there is the performance of Hardy as Eddie Brock. He is sleepwalking his way through this film, looking like he has very little interest in what is going on and just wants to grab his paycheck and get home.
Some of these sins could be forgiven if the CGI elements - and the battles between Venom and Carnage - are interesting. Unfortunately, they just are not - they are “fine”, but nothing interesting or original, so this film is destined to get washed off the shore (and memory) as quickly as a sandcastle is washed away on a beach.
If you are going to check out this flick, make sure you stay for the “end credits” scene (which is only, thankfully, about 2 minutes into the credits), it is the best part of this film.
Letter Grade: C+
5 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (980 KP) rated Les Misérables (2012) in Movies
Aug 7, 2019
Words cannot express how amazing this movie is. For those of you who have shouldered through the modern-day musical revival; suffering through the questionable singing talents of many stars as “Phantom of the Opera,” “Chicago,” “Moulin Rouge,” “Sweeny Todd,” and that abysmal rendition of “Nine” – I can assure you, that “Les Mis” will change that perception. For once, the casting crew took the time to select a cast capable of the repertoire’s vocal demands (and Les Mis is very vocally demanding – as most operatic pieces are). It’s apparent that each singer was heavily vocally coached and trained, some faring more so than others. While this is no replacement for raw talent, I can assure you that the cast was downright fantastic.
For years I studied and sang opera. I know music and I’ve sung my fair share of Les Mis pieces in my past. I adore Victor Hugo and “Les Misérables” is by far one of my favorite literary works. When I began to watch this movie, I was keyed up to be critical on the vocal spectrum, the literary aspect, and the representation of one of my favorite Broadway/London pieces. To be frank, I wasn’t disappointed at all.
For those unfamiliar with Hugo’s work or what to expect with Les Mis, let me give you a brief synopsis on its plot and the history of the French revolution in which this takes place. France has just endured her infamous Revolution (the one with the guillotine, Marie-Antoinette, and the Sans Culottes movement) and her people are still suffering. There is no money for food, the country is in the midst of a depression, and the Napoleonic regime is yet to come to fruition. Thus, you find Fantine (Hathaway), a poor but determined (and beautiful) woman trying desperately to make enough money to support her daughter, Cosette, who resides with friends in another city. The book reveals that Madame Thénardier (Bonham-Carter) and her husband, Thénardier (Baron-Cohen) were supposed to be taking the money that Fantine had given to them to provide for her daughter, Cosette. Instead, however, Cosette is forced to live in absolute poverty while Thénardier’s daughter, Eponine, lives the life of opulence. Meanwhile, Jean Valjean (Jackman), an ex-convict, is trying desperately to find legitimate work after his stint in prison for stealing a loaf of bread to provide for his starving family. The infamous policeman, Javert (Crowe), feels Valjean will re-offend and makes it his mission to pursue Valjean until the end.
Finding the world a terrible place as an ex-convict, Valjean seeks to steal from a church her silver, believing he has no other way to survive. It is the love of a good priest, however, who gives Valjean the silver he seeks under the pledge he will become a servant of God and provide for others the same good he has provided for him. Thus, years later, we find Valjean a reformed man (who has skipped on his parole and assumed a new name), running a factory in which Fantine works. And so, when Fantine is fired from her job and takes to a life of prostitution in order to provide for her daughter, it is Valjean who feels the burden of her demise and takes it upon himself to save Cosette and raise her as his own.
Of course, this entire time, Javert is pursuing Valjean and a new revolution is starting to take place amongst Paris’ people. Years later we find Cosette grown to womanhood (now played by Seyfried), and falling in love with one of the revolution’s key players, a youth by the name of Marius (Redmayne). The Thénardiers are back again and we find their once-grand lifestyle has resorted to a life of gutter-crime and Éponine (now played by Barks), is desperately in love with Marius as well (although her love is unrequited). For those unfamiliar with how the story plays out, I will leave it at that.
I will caution those who have never seen this play to prepare for a long show. It is very dramatic and very intense, but visually breath-taking and emotionally moving in so many ways. Vocally, there are times when the legato is lacking and some transitions seemed forced (Crowe struggled many times with allowing his natural vibrato to come through instead of pushing a sustained note; Seyfried’s vibrato is very trill-like and sometimes distracts from the pure quality of her spinto-soprano range). However, I must say that I was blown away by Hathway’s performance (she brought me to tears with “I Dreamed a Dream” due to her emotional rendition) and her ability to truly escape into her character. Similarly, Tviet (he played Enjolras) was stunning with his vocal command and Redmayne was equally as impressive. Jackman will amaze you with his rich tenor and, surprisingly, I found Crowe to have a fantastic baritone when he didn’t force his work. Baron-Cohen and Bonham-Carter provided a much needed comical respite throughout the film (and both sing beautifully as well, although this movie didn’t focus on their vocal command as much). Barks did a lovely job for most of her work; although I found her rendition of “On My Own” a bit forced (she is a true mezzo but seemed to push her high notes, although this may have been where her voice shifted into her head voice which is no fault of her own).
Overall, if you are an avid musical lover and have been waiting for a proper rendition of this production, this movie will astound you. Visually, the movie is breath-taking and the acting is absolutely fantastic. I’m still haunted by the revolutionary song, to be honest. If you’ve been waiting for a musical worthy of the big screen, this one is it. Look for it to sweep the Oscars this year.
This movie deserves an A all around.
For years I studied and sang opera. I know music and I’ve sung my fair share of Les Mis pieces in my past. I adore Victor Hugo and “Les Misérables” is by far one of my favorite literary works. When I began to watch this movie, I was keyed up to be critical on the vocal spectrum, the literary aspect, and the representation of one of my favorite Broadway/London pieces. To be frank, I wasn’t disappointed at all.
For those unfamiliar with Hugo’s work or what to expect with Les Mis, let me give you a brief synopsis on its plot and the history of the French revolution in which this takes place. France has just endured her infamous Revolution (the one with the guillotine, Marie-Antoinette, and the Sans Culottes movement) and her people are still suffering. There is no money for food, the country is in the midst of a depression, and the Napoleonic regime is yet to come to fruition. Thus, you find Fantine (Hathaway), a poor but determined (and beautiful) woman trying desperately to make enough money to support her daughter, Cosette, who resides with friends in another city. The book reveals that Madame Thénardier (Bonham-Carter) and her husband, Thénardier (Baron-Cohen) were supposed to be taking the money that Fantine had given to them to provide for her daughter, Cosette. Instead, however, Cosette is forced to live in absolute poverty while Thénardier’s daughter, Eponine, lives the life of opulence. Meanwhile, Jean Valjean (Jackman), an ex-convict, is trying desperately to find legitimate work after his stint in prison for stealing a loaf of bread to provide for his starving family. The infamous policeman, Javert (Crowe), feels Valjean will re-offend and makes it his mission to pursue Valjean until the end.
Finding the world a terrible place as an ex-convict, Valjean seeks to steal from a church her silver, believing he has no other way to survive. It is the love of a good priest, however, who gives Valjean the silver he seeks under the pledge he will become a servant of God and provide for others the same good he has provided for him. Thus, years later, we find Valjean a reformed man (who has skipped on his parole and assumed a new name), running a factory in which Fantine works. And so, when Fantine is fired from her job and takes to a life of prostitution in order to provide for her daughter, it is Valjean who feels the burden of her demise and takes it upon himself to save Cosette and raise her as his own.
Of course, this entire time, Javert is pursuing Valjean and a new revolution is starting to take place amongst Paris’ people. Years later we find Cosette grown to womanhood (now played by Seyfried), and falling in love with one of the revolution’s key players, a youth by the name of Marius (Redmayne). The Thénardiers are back again and we find their once-grand lifestyle has resorted to a life of gutter-crime and Éponine (now played by Barks), is desperately in love with Marius as well (although her love is unrequited). For those unfamiliar with how the story plays out, I will leave it at that.
I will caution those who have never seen this play to prepare for a long show. It is very dramatic and very intense, but visually breath-taking and emotionally moving in so many ways. Vocally, there are times when the legato is lacking and some transitions seemed forced (Crowe struggled many times with allowing his natural vibrato to come through instead of pushing a sustained note; Seyfried’s vibrato is very trill-like and sometimes distracts from the pure quality of her spinto-soprano range). However, I must say that I was blown away by Hathway’s performance (she brought me to tears with “I Dreamed a Dream” due to her emotional rendition) and her ability to truly escape into her character. Similarly, Tviet (he played Enjolras) was stunning with his vocal command and Redmayne was equally as impressive. Jackman will amaze you with his rich tenor and, surprisingly, I found Crowe to have a fantastic baritone when he didn’t force his work. Baron-Cohen and Bonham-Carter provided a much needed comical respite throughout the film (and both sing beautifully as well, although this movie didn’t focus on their vocal command as much). Barks did a lovely job for most of her work; although I found her rendition of “On My Own” a bit forced (she is a true mezzo but seemed to push her high notes, although this may have been where her voice shifted into her head voice which is no fault of her own).
Overall, if you are an avid musical lover and have been waiting for a proper rendition of this production, this movie will astound you. Visually, the movie is breath-taking and the acting is absolutely fantastic. I’m still haunted by the revolutionary song, to be honest. If you’ve been waiting for a musical worthy of the big screen, this one is it. Look for it to sweep the Oscars this year.
This movie deserves an A all around.
Chris Sawin (602 KP) rated Warlords (Tau ming chong) (2010) in Movies
Jun 19, 2019
General Pang Qing Yun is the sole survivor of his entire battalion. The Ching army was taken out against Taiping rebels in Hechuan. Pang meets a woman and spends the night with her while she leaves before he wakes up the next morning. Some bandits ride into the town Pang is in. One of them, Jiang Wuyang, notices Pang and challenges him. Pang makes short work of Jiang. Jiang, impressed with Pang, introduces Pang to Zhao Er Hu. Pang follows Jiang and Er Hu back to their village where he notices that same woman he spent the night with. Her name is Lian and she's Er Hu's wife.
The village is very poor and in desperate need of food, so they decide to attack a passing food convoy. In the midst of the battle, Pang saves Jiang from certain death. The bandits successful, they bring food back to their families. Kui troops, the imperial army, invade the village and usurps the food that they stole. Now without food or money, the bandits are starving and unsure of what lies ahead for them. Pang suggests to Er Hu that they should join Lord Chen's army as they could earn wages for their families and actually have something to be proud of. Questioning Pang's reasoning since he abandoned his army once before, Jiang suggests that Pang, himself, and Er Hu take a blood oath. The pact made them blood brothers on that day.
After joining the army, their 800 soldiers go after Shu City, which has an army of 5,000. They somehow manage to get the upper hand and with the help of 1,500 imperial soldiers, they get a victory. It'll be the first of many for them as they move up in rank rapidly. With plans to overthrow Suzhou and then Nanjing, the capital, they have their work set out for them. The brothers soon begin to fall apart on their rise to the top though. Er Hu tends to be loyal with his word and his brothers no matter what as Pang will sacrifice anyone and even make deals with his enemies just to win while Jiang is stuck between them.
Let me just start this by saying, I loved this movie. The battle sequences are stunning, the cinematography was brilliant, and the acting was pretty much right on the money. The Warlords took everything I loved about Mongol and made it just a little bit better. Jet Li deserves a mention. After seeing Unleashed and Fearless, it was nice to see him actually show his acting chops. So I've wanted to see him show those off again. Luckily, he did a great job in this as he showed just about every emotion in this film at some time or another. His fight scenes were also incredible, but that comes to be expected with just about any film he's involved in. I think Andy Lau deserves a nod, as well. His character is just so passionate about being honorable and loyal that when things go wrong, his reaction is just explosive. He has some really powerful scenes where he's fighting for what he thinks is right, but I can't really mention with spoiling anything. There is a scene where he's having dinner and there's play going on that's mocking him, Pang, and Jiang. He begins to laugh, which leads to him crying uncontrollably, and then he begins laughing again. He just managed to pull it off flawlessly and I was incredibly impressed.
The battle scenes didn't pull any punches either. Blood flies across the screen as limbs roll on the ground. It's truly fantastic. They were truly the highlight of the film for me as the first half of the film doesn't seem to let up from the battlefield. The film is also extremely colorful. Every scene is stunningly vibrant. There are also so many memorable scenes from the film and half of that is due to how they were shot. There's a scene where Er Hu runs into this coliseum where there are just hundreds of dead bodies lying on the ground and the camera kind of spins around him capturing his emotions and the devastation that lies around him. It's truly something worth seeing for yourself.
The Warlords is one of the best feudal Japan films I've ever seen. If you were a fan of films like Mongol: The Rise of Genghis Khan, The Last Samurai, or Seven Samurai, then I highly recommend this.
The village is very poor and in desperate need of food, so they decide to attack a passing food convoy. In the midst of the battle, Pang saves Jiang from certain death. The bandits successful, they bring food back to their families. Kui troops, the imperial army, invade the village and usurps the food that they stole. Now without food or money, the bandits are starving and unsure of what lies ahead for them. Pang suggests to Er Hu that they should join Lord Chen's army as they could earn wages for their families and actually have something to be proud of. Questioning Pang's reasoning since he abandoned his army once before, Jiang suggests that Pang, himself, and Er Hu take a blood oath. The pact made them blood brothers on that day.
After joining the army, their 800 soldiers go after Shu City, which has an army of 5,000. They somehow manage to get the upper hand and with the help of 1,500 imperial soldiers, they get a victory. It'll be the first of many for them as they move up in rank rapidly. With plans to overthrow Suzhou and then Nanjing, the capital, they have their work set out for them. The brothers soon begin to fall apart on their rise to the top though. Er Hu tends to be loyal with his word and his brothers no matter what as Pang will sacrifice anyone and even make deals with his enemies just to win while Jiang is stuck between them.
Let me just start this by saying, I loved this movie. The battle sequences are stunning, the cinematography was brilliant, and the acting was pretty much right on the money. The Warlords took everything I loved about Mongol and made it just a little bit better. Jet Li deserves a mention. After seeing Unleashed and Fearless, it was nice to see him actually show his acting chops. So I've wanted to see him show those off again. Luckily, he did a great job in this as he showed just about every emotion in this film at some time or another. His fight scenes were also incredible, but that comes to be expected with just about any film he's involved in. I think Andy Lau deserves a nod, as well. His character is just so passionate about being honorable and loyal that when things go wrong, his reaction is just explosive. He has some really powerful scenes where he's fighting for what he thinks is right, but I can't really mention with spoiling anything. There is a scene where he's having dinner and there's play going on that's mocking him, Pang, and Jiang. He begins to laugh, which leads to him crying uncontrollably, and then he begins laughing again. He just managed to pull it off flawlessly and I was incredibly impressed.
The battle scenes didn't pull any punches either. Blood flies across the screen as limbs roll on the ground. It's truly fantastic. They were truly the highlight of the film for me as the first half of the film doesn't seem to let up from the battlefield. The film is also extremely colorful. Every scene is stunningly vibrant. There are also so many memorable scenes from the film and half of that is due to how they were shot. There's a scene where Er Hu runs into this coliseum where there are just hundreds of dead bodies lying on the ground and the camera kind of spins around him capturing his emotions and the devastation that lies around him. It's truly something worth seeing for yourself.
The Warlords is one of the best feudal Japan films I've ever seen. If you were a fan of films like Mongol: The Rise of Genghis Khan, The Last Samurai, or Seven Samurai, then I highly recommend this.
Gareth von Kallenbach (980 KP) rated Fast Five (2011) in Movies
Aug 7, 2019
The 2011 summer movie season kicks off in high gear with the release of Fast Five the latest installment in the phenomenally popular Fast and Furious series. The movie picks up exactly where the previous film ended with Brian O’ Conner (Paul Walker), orchestrating a daring escape for Dominic Toretto (Vin Diesel).
The film quickly moves forward in time where Brian and Dominic’s sister Mia (Jordana Brewster), overall fugitives from the law, have taken refuge in Rio. Unsure of exactly where Dominic is, an old family friend offers Brian and Mia roles in a job which will surely score them some very easy and much-needed money. Although reluctant, Brian agrees to the job which involves the theft of three high-value cars from a train. Things go horribly wrong when they’re doublecrossed, the aftermath of which leads to the death of three federal agents. Only Dominic’s arrival, quick thinking, and a daring escape allows Brian and Mia to survive.
Although it is not their fault, the deaths of the agents is blamed solely on the trio, and an elite fugitive hunter named Hobbs (Dwayne Johnson) arrives with his team with the sole mission of stopping Brian, Mia and Dominic, no matter the cost.
As if this wasn’t enough trouble for the fugities, it is learned that they have also fallen on the radar of the local drug kingpin named Reyes (Joaquim de Almeida), who will stop at nothing to retrieve an item now in the trio’s possession. Caught in the crossfire between Hobbs and Reyes, Dominic plots an epic caper that will allow them not only the money to flee Hobbs and disappear into a life of luxury, but allow them to settle the score with Reyes.
What follows is a nonstop action thrill ride that sprinkles in a nice mix of comedy and romance to keep things interesting. The film downplays the racing aspect of the series and instead saves the spectacular driving for key action sequences. While street racing scenes are alluded to they are not shown as director Justin Chin focuses squarely on his cast and allows them ample time to develop their characters. In doing so it strengthens the bond between them and allows the climactic sequence to have an even greater impact than your standard over-the-top summer film action scenes.
.
There are some really funny moments in the film as Dominic assembles his team to pull off the ultimate job. The new characters work very well with the established cast from the previous films and introduce characters which I hope will be a part of any future films in the series. Johnson was a very pleasant surprise, as his character could easily have been one-dimensional. He was given a few wrinkles which allowed him to walk the fine line between good guy and bad guy, which is an essential quality to many of the film’s characters. Johnson’s action sequences were solid and highly effective and once again underscores that he needs to be focusing more on action films and less on the family-friendly genre that
has dominated the bulk of his recent work.
Walker and Diesel complement each other perfectly and appear to be having a great time working with one another again. They have a very easy-going and natural chemistry with one another that works even when they’re not behind the wheel of a car or caught up in a frantic action scene.
While the plot of the film is fairly straightforward it provides ample framework for the characters to grow and propel the story forward. While the audience is asked to take some great leaps in logic it doesn’t derail from the finished product. The stuntwork in the film was absolutely amazing and the spectacular finale of the movie alone must be seen to be believed.
Many times during my press screening the audience was completely silent for a brief second following an action sequence before erupting into thunderous applause and cheers after they’ve fully processed what just unfolded on the screen. Larger-than-life characters combined with larger-than-life action, plus some very sexy cars and very sexy people make an extremely winning formula. If the rumors are true, Chin may be handed the reins to the Terminator franchise as well as the next film in the Fast and Furious series, then audiences are in for one hell of a ride.
I think my wife summed it up best when she said that movie was “Ridiculous…ridiculously good.” Reality is thrown out the window for pure adrenaline and testosterone fueled action.
The film quickly moves forward in time where Brian and Dominic’s sister Mia (Jordana Brewster), overall fugitives from the law, have taken refuge in Rio. Unsure of exactly where Dominic is, an old family friend offers Brian and Mia roles in a job which will surely score them some very easy and much-needed money. Although reluctant, Brian agrees to the job which involves the theft of three high-value cars from a train. Things go horribly wrong when they’re doublecrossed, the aftermath of which leads to the death of three federal agents. Only Dominic’s arrival, quick thinking, and a daring escape allows Brian and Mia to survive.
Although it is not their fault, the deaths of the agents is blamed solely on the trio, and an elite fugitive hunter named Hobbs (Dwayne Johnson) arrives with his team with the sole mission of stopping Brian, Mia and Dominic, no matter the cost.
As if this wasn’t enough trouble for the fugities, it is learned that they have also fallen on the radar of the local drug kingpin named Reyes (Joaquim de Almeida), who will stop at nothing to retrieve an item now in the trio’s possession. Caught in the crossfire between Hobbs and Reyes, Dominic plots an epic caper that will allow them not only the money to flee Hobbs and disappear into a life of luxury, but allow them to settle the score with Reyes.
What follows is a nonstop action thrill ride that sprinkles in a nice mix of comedy and romance to keep things interesting. The film downplays the racing aspect of the series and instead saves the spectacular driving for key action sequences. While street racing scenes are alluded to they are not shown as director Justin Chin focuses squarely on his cast and allows them ample time to develop their characters. In doing so it strengthens the bond between them and allows the climactic sequence to have an even greater impact than your standard over-the-top summer film action scenes.
.
There are some really funny moments in the film as Dominic assembles his team to pull off the ultimate job. The new characters work very well with the established cast from the previous films and introduce characters which I hope will be a part of any future films in the series. Johnson was a very pleasant surprise, as his character could easily have been one-dimensional. He was given a few wrinkles which allowed him to walk the fine line between good guy and bad guy, which is an essential quality to many of the film’s characters. Johnson’s action sequences were solid and highly effective and once again underscores that he needs to be focusing more on action films and less on the family-friendly genre that
has dominated the bulk of his recent work.
Walker and Diesel complement each other perfectly and appear to be having a great time working with one another again. They have a very easy-going and natural chemistry with one another that works even when they’re not behind the wheel of a car or caught up in a frantic action scene.
While the plot of the film is fairly straightforward it provides ample framework for the characters to grow and propel the story forward. While the audience is asked to take some great leaps in logic it doesn’t derail from the finished product. The stuntwork in the film was absolutely amazing and the spectacular finale of the movie alone must be seen to be believed.
Many times during my press screening the audience was completely silent for a brief second following an action sequence before erupting into thunderous applause and cheers after they’ve fully processed what just unfolded on the screen. Larger-than-life characters combined with larger-than-life action, plus some very sexy cars and very sexy people make an extremely winning formula. If the rumors are true, Chin may be handed the reins to the Terminator franchise as well as the next film in the Fast and Furious series, then audiences are in for one hell of a ride.
I think my wife summed it up best when she said that movie was “Ridiculous…ridiculously good.” Reality is thrown out the window for pure adrenaline and testosterone fueled action.