Review: "The Fate of the Furious"

As we already knew from the movies, you can outrun an explosion, provided it happens in slo-mo. Now from “The Fate of the Furious,” the franchise that started out about illegal street racers and somehow morphed into full James Bond-esque international intrigue and action set pieces, we learn you can block an explosion simply by parking a car in front of it.

It’s true -- the flames won’t go above, below or around the vehicle at all! Thanks, Furious!

I know, I know; nitpicking the “Fast and the Furious” franchise, now in its astonishing eighth iteration, is like criticizing the dancing bear’s form. People pay to see it because it does what it does, not because it’s particularly good at it or whether the whole enterprise makes a lick of sense.

The thing is, people got hooked on these movies because they combined hot rods, bulging muscles, macho preening, hoochie mamas and lots of hard-throttle racing. Most of that has gone by the wayside in “Fate.” Oh, there are a few cool cars, and neither Vin Diesel nor Dwayne Johnson seem to own any shirts that include sleeves.

But at this point the Furious movies are big, messy, sprawling orgies of pomposity and ridiculousness. It’s all about Russian separatists and nuclear codes and elite cyber hackers and no-name American spy agencies. There are eight gazillion characters, and apparently we’re supposed to be able to remember some sideshow guys from four movies ago.

When last we left Dominic Toretto (Diesel) and his “family” of driver/robbers, they’d finally found some peace after pulling off one last big job. We learn they’ve been staying in Havana, which in this depiction is a true socialist paradise of cruising cars and women with cheeks hanging out of their skirts.

Dom gets a visit from Cipher, a computer hacker and criminal mastermind, played with hollow eyes and a taunting smirk by Charlize Theron. She shows him an image on her phone, and as a result he turns his back on his crew and becomes her mercenary in some very big heists against the Russian military. His actions are so bewildering, his friends keep wondering aloud: “Has Dominic Toretto finally gone rogue?”

Hint: Dominic Toretto has not gone rogue.

You may remember the other players: Michelle Rodriguez is Letty, Dom’s fiery lady love, now wife; Johnson is Luke Hobbs, a special ops badass who used to chase Dom & Co. but now allies with them; Tyrese Gibson is Roman, the wisecracking, cowardly one; Chris “Ludacris” Bridges is Tej, the brainy tech expert; Nathalie Emmanuel is Ramsey, a hacktivist who created some spying software called God’s Eye in the last movie and now fends off lame sexual innuendo from Roman and Tej.

Jason Statham returns as Shaw, a bad guy for at least one other movie, maybe two. (I really can’t remember.) Now he and Hobbs are in jail together for about a minute and a half, then they’re forced to team up against Cipher. They keep threatening to have a fistfullicious throwdown when their temporary alliance is ended; it gives us something to look forward to.

Kurt Russell shows up as the helpful spy guy pulling some strings, and Scott Eastwood is his dorky young apprentice who eventually wises up. I get the sense Eastwood is being groomed to assume the role of Bland Straitlaced White Guy vacated by Paul Walker.

The movie, directed by F. Gary Gray from a script by Chris Morgan, is big, loud and dumb, but perhaps not big and loud enough for its own good. There’s an astonishing amount of jabbering and people tapping away furious on computer keyboards. This is one of those movies where virtually every object in the world can be controlled by computers, including an army of self-driving cars and even a nuclear submarine.

(Quibble: If you leave the hatch of a sub open, as the characters clearly do, it tends to flood when it submerges. OK, I’ll stop.)

There was one clever and funny bit where Shaw fights a bunch of people on a plane while carrying a very important object, about which I’ll say no more. It’s basically the movie’s MacGuffin, but cuter.

“The Fate of the Furious” is a transcendentally silly movie, rock-headed and testosterone-fueled, but one not without its charms. The car stunts are fun, the bad guys are hiss-able, and even the hyper-masculine peacocking gets so silly the guys start laughing at each other in between boasts and threats.

I wish the thing was 40 minutes shorter. Come to think of it, I wish they’d stopped making these two or three movies ago. But I hear two more are coming, whether we like it or not. Just pay your money and clap for the bear.

Review: "Furious 7"

"Furious 7" features a lot of great stunts and a great deal of silliness. This franchise started out 14 years ago about a bunch of punk twentysomething street racers, and by now it's morphed into a James Bond clan in which everybody does martial arts, spy infiltrations and super stunts in addition to being expert wheel men (and women).

You pretty much know what you're getting with any of the "Furious" flicks: aerobatic car stunts, smashmouth fights, explosions galore, booties shaken, muscles engorged, exotic locales and lots of quips. The first 20 minutes or so features very little action, with main star Vin Diesel repeatedly threatening the camera, vaguely: "They're gonna pay for their mistakes... big time."

That's not actually what he says, but it could be. One of the main failings of these movies is that the dialogue often sounds like it was written by a pair of 15-year-olds who were locked in a vault with a bunch of video games and no contact with other humans.

(Chris Morgan, who penned the first, fifth and sixth movies, is officially given credit.)

Justin Lin, who directed the last four films in the series, is replaced by horror filmmaker James Wan. He adds a few new flourishes of his own, such as rotating the camera to follow the trajectory of an actor spinning through the air during a fight or crash, and then flogs them like a deceased equine.

Still, it's hard to deny that many of the chase scenes in the latter half are truly thrilling. The best are a multi-car road duel on a twisty mountain road, and a super-valuable sports car being jumped from one high-rise skyscraper to another... and another.

Dwayne Johnson, as supercop Hobbs, is actually sidelined for most of the movie after sustaining serious injuries during an early tussle, which is notable for a couple of reasons. First, we don't get to enjoy Johnson and Diesel engaging in another pointless battle of behemoths. Second, this is virtually the only time a character gets more than a scratch during the entire flick, despite an unrelenting barrage of bullets, shrapnel, kicks, punches and sudden g-force trauma.

The plot is an incomprehensible muddle of MacGuffins, red herrings, come-and-go villains and set pieces. Our travels take us from Los Angeles to London, Abu Dhabi, the Caucuses, the Dominican Republic and more.

Ostensibly it's about catching Deckard Shaw (Jason Statham), the brother of the bad guy from the last movie. He's a British black ops chap who wants revenge, so he starts tracking down the "family" members of Dom Toretto (Diesel), leader of the crew. Dom doesn't believe in playing defense, so soon they're chasing the guy chasing them.

Somehow this morphs into the search for an international hacker named Ramsey, who has created a program called the God's Eye, which uses cell phones, security cameras and virtually every electronic device to track anyone, anywhere.

(You may recall this is the same thing Batman used during the finale of "The Dark Knight"; it was goofy then, and it's still goofy now.)

Other familiar characters include Paul Walker as cop-turned-wingman Brian; Michelle Rodriguez as Dom's squeeze Letty, still struggling with amnesia after returning from the dead; Roman (Tyrese Gibson), ladies' man and comic relief; and Tej (Ludacris), computer expert and Roman tamer.

(Walker's death mid-production is handled by using CGI to paste his face on other actors' bodies; if you're not looking for it, you probably won't even notice. He also receives a send-off at the end that's genuinely touching.)

Joining the fray are Mr. Nobody (Kurt Russell), head of a vague American government arm that wants God's Eye, and Mose Jakande (Djimon Hounsou), an African crime lord who desires it, too. Things build up to a spectacular showdown in L.A. with all parties taking part in a very destructive fracas.

"Furious 7" is not the sort of movie you're supposed to spend more than a few seconds thinking about, because if you do it all falls apart like sand. (For instance, how does the God's Eye track Shaw when he drives through a barren desert? Are the geckos rocking Samsungs?)

You're invited to just sit back, drink in the crazy action scenes and sneering attitude, and cheer. There are plenty of moments worth a huzzah, but many others that earn their derision.

Video review: "Guardians of the Galaxy"

Back when “Guardians of the Galaxy” came out, I praised it highly but fretted that audiences wouldn’t come out for yet another comic book adaptation based on characters most of them had never heard of.

Silly me. Now the top-grossing film of the year, “Guardians” obviously didn’t need any sympathy.

What a dizzy, daffy antidote to a summer of largely dreary flicks. Here for the first time was a super-hero movie that was a flat-out comedy. That whole thing with glum caped crusaders kvetching about “with great power comes great responsibility” had gotten kinda old. Here’s a quintet who love doing what they do, no apologies, and plenty of humor along the way.

Rather than being inveterate do-gooders, these Guardians are a motley crew of thieves and killers who get thrown together while greedily pursuing the same mysterious space orb. They are:

• Star-Lord (Chris Pratt), a smirky, quip-throwing human with cool gadgets;
• Gamaro (Zoe Saldana), a green-skinned assassin and turncoat;
• Rocket (voice by Bradley Cooper), a spirited raccoon engineer;
• Groot (voice by Vin Diesel), Rocket’s 9-foot-tall tree-like companion;
• Drax (Dave Bautista), a burly red guy with revenge on his mind.

The plot is a little hard to follow, but something to do with a powerful rebel Ronan (Lee Pace) who wants to throw off the yoke of his master, Thanos, an evil space emperor. Ronan and his fellow Kree want to destroy the Nova, a benevolent race guarding the orb.

The action is zingy, the villains (there are many) quite hiss-able and the belly laughs plentiful. I doubt “Guardians of the Galaxy” will need my boosterism for its video release.

Video features are good, not great, and feel a bit underwhelming considering the success of the film. The DVD comes with but a single feature, and it’s more of an ad: an exclusive look at “Marvel’s Avengers: Age of Ultron.”

Upgrade to the Blu-ray combo pack and you add a feature-length audio commentary track, deleted scenes, gag reel and making-of featurettes.

Movie:

Extras:

Review: "Guardians of the Galaxy"

If Spider-Man and the X-Men aren’t doing so well at the box office, then what chance do Star-Lord and Rocket the talking raccoon have?

If there’s any justice in the world, plenty.

The latest cinematic iteration of the Marvel Comics universe focuses on a troupe of super-heroes who aren’t particularly super, and don’t have nearly the pop culture following of the web-slinger or Wolverine. Yet “Guardians of the Galaxy” is a lot more fun, and a helluva lot funnier, than most anything we’ve seen from the genre since… well, ever.

While other super-hero movies have had a sprinkling of humorous moments, this is more or less a straight-up comedy. There’s plenty of zingy action, but it plays second fiddle to the guffaws.

There have been several versions of the comic book group over the years, none of them particularly successful until recently. The movie, written by Nicole Perlman and James Gunn, who also directed, changes things around further. The Guardians are now a vagabond quintet of misfits and thieves who stumble backward into heroism while trying to pawn off a mysterious orb they’ve stolen.

This is a mythology in which pink-skinned humanoids are in the minority. Most of the cast is either dolled up in elaborate makeup and prosthetics, or represented through computer-generated imagery. It makes for a rousing, colorful visual landscape.

Chris Pratt, best known for funnyman roles in TV and movies, is an unlikely but winning protagonist as Peter Quill, a human scamp who dubs himself Star-Lord, though he’s vexed when no one seems to have heard of his moniker. He was kidnapped from Earth by alien ravagers when he was a boy, and now tools around in a spaceship looking for adventure.

He doesn’t have any powers per se, though he carries an array of helpful gadgets, including boot rockets, a retractable helmet with red-eyed goggles, and twin stun guns. He’s also got a serious thing for 1980s culture, since that’s all he knows of Earth. He likes to pop in a cassette mix tape of tunes and boogie while he works.

I won’t bother trying to describe the plot, since it’s completely indecipherable, other than to say everybody wants the mysterious orb that Star-Lord absconds with in the opening minutes.

This brings together the Guardians, who all get captured and thrown into prison while fighting over the orb. While they put together a breakout plan, this allows us to get to know the rest of the team.

There’s Gamora (Zoe Saldana), a green-hued assassin who is looking to trade in her evil boss for greener pastures. And Drax the Destroyer (Dave Bautista), a muscle-bound dude with skin like lava, who seeks revenge for his murdered family.

Stranger yet is Rocket (voice of Bradley Cooper), a feisty humanoid raccoon with incredible engineering skills and a chip on his shoulder. (Think Joe Pesci with fur.) Even more fantastical is Groot (voiced by Vin Diesel), a tree-like figure who accompanies Rocket as his pet/houseplant/bodyguard. He can grow his body into new shapes, but can only speak the same three words: “I am Groot.”

There are so many villains in this movie, every time you meet one when you think they’re the head scoundrel, only to reveal an even bigger baddie behind them. Djimon Hounsou shows up early, decked out in impressive black armor and blue contact lenses, but turns out he’s just the lackey of the lackey of the lackey.

Ronan (Lee Pace) seems to be at the center of things, a rebel Kree who wants to destroy the noble Nova, despite a treaty between their peoples. He’s currently indentured to Thanos, an all-powerful space king.

I also enjoyed Benicio del Toro as The Collector, an obsequious trader of exotics, and Yondu (Michael Rooker), a space pirate and father figure to Star-Lord. Indigo blue with a bone Mohawk, Yondu has a nifty trick: an arrow he carries around in a holster that goes anywhere (and through anything) at his whistle.

Come to think of it, most everyone in this movie has a nifty trick. Everything we encounter is special and has a backstory or hidden attributes that we can’t wait to discover. A dense, dizzying diaspora of originality, “Guardians of the Galaxy” is the sort of film you need, and want, to see more than once to fully appreciate.

Review: "Riddick"

I was expecting "Riddick" to be just awful, so anything north of terrible would probably have registered as pretty good. The third in the line of sci-fi/action movies that made Vin Diesel a star is a murky, disjointed mess. But it also boasts some cool action scenes, gruesome beasties and Riddick in full-on badassery mode.

Riddick, who was an able but fallible combatant in "Pitch Black" and "The Chronicles of Riddick," seemingly has taken on supernatural powers in this new movie, laying waste to an army of creatures and a gaggle of mercenaries come for the price on his head. Notably, he does this all bare-handed or with crude weapons he's fashioned himself -- including some kind of wicked bone sword that looks like something Conan would have hefted.

The allusion to the Cimerian barbarian is apt, since director David Twohy has opted for a downscale, pulp-fiction return to roots after the epic sprawl of "Chronicles." Instead of empires and entire planets being at stake, this is the simple tale of Riddick being stranded on a harsh desert planet and having to fight through a mountain of obstacles to escape.

It's a throwback to old-fashioned science fiction of the 1950s and earlier, more concerned with individual stories than macro events.

When last we saw him, Riddick had defeated the Lord Marshall of the Necromongers and, following their militant traditions, seen himself installed as their leader. But by his own reckoning Riddick had gotten lazy and lost a step, so he didn't see it when a plot to overthrow them developed. Teased by the prospect of locating his long-lost home planet of Furya, he gets bushwacked and left for dead.

Armed with nothing more than his infrared vision and a few tricks, Riddick has to find a way to survive the cruel environs, which include little to eat or drink and slavering hyena-like dogs. Worse yet is the things hiding in the bubbling cesspools, which resemble a cross between a scorpion, spider and amphibian.

I quite enjoyed this early sequence, wordless except for a little of Riddick's narration, which had a man-against-nature vibe that favorably recalled "Castaway."

Eventually he makes it to a lonely outpost, a way station for mercenaries. Riddick triggers a beacon to let everyone know where he is, and soon two groups of bounty hunters have descended to catch him. This sets up the chase-chase sequence, in which the mercenaries square off while fighting over who will get to claim Riddick's head. -- literally, just his head, since the county is doubled if he's dead.

Leading one crew is Santana (Jordi Mollà), a loathsome, greasy type who favors a machete and a whole lot of sexually suggestive dialogue. His team includes Diaz (Dave Bautista), who looks big enough to give Riddick a run for his money, and Luna (Nolan Gerard Funk), a green kid with religious overtones.

More professional and disciplined is the crew led by Johns (Matt Nable), a name that may be familiar to fans of the series. Johns has other objectives in mind beyond mere bloodletting. His right-hand woman is Dahl (Katee Sackhoff), who likes to mix it up: "I don't f*ck guys, but I f*ck them up when I have to."

There's an ugly, hyper-masculine undercurrent to the proceedings, as every male character attempts to out-strut the other ones, with Riddick at the top of the cock-heap. At one point he makes some icky comments about Dahl's toenails and nipples, and I squirmed uncomfortably in my seat.

The gore quotient is pretty high for this type of movie, and one nasty character gets his comeuppance in a particularly memorable slice-and-dice way. During one scene Riddick slides under one of those scorpion things, slicing its belly and causing its entrails to drop out. Distracted, the critter proceeds to eat its own guts. Nasty.

No one will confuse "Riddick" for quality filmmaking. But it's got a grungy, sweaty vibe that wasn't entirely unpleasing. I didn't like it, but I didn't hate it, and that's way more than I ever would have guessed.

Review: "Fast & Furious 6"

Here's the thing about the "Fast & Furious" movies: they're cartoons.

I would think this is fairly obvious to anyone who's watched even five minutes of the series -- the high-speed chase sequences that flaunt the laws of physics, the muscle-bound lunks strutting and blustering, the emaciated hoochies with incongruous combat skills.

The whole enterprise is garish and bogus, like sun-tan lotion smeared over plastic surgery scars.

There's nothing inherently wrong with cartoonish movies -- when they recognize and accept their just-for-kicks nature. But "Fast & Furious 6," like all its predecessors, takes itself way, way too seriously to allow any fun.

At least a half-hour too long at 130 minutes, it interrupts its infrequent car chases with lots of scenes where Vin Diesel and Dwayne Johnson growl their dialogue, usually at each other. We also have a new villain, Owen Shaw (Luke Evans), who's so busy telling everyone how much smarter he is than them he keeps making obvious mistakes.

Oh, and Michelle Rodriguez, who was pretty definitively offed earlier in the franchise, somehow is brought back with that ol' standby of the lazy screenwriter, amnesia. It's not a very convincing device, nor does it explain away the fact that leader Dom Toretto (Diesel) had already replaced his dead girlfriend with a new one.

Director Justin Lin, who has now helmed all the "Fast" movies except the first two, appears to have simply grown bored with car chases. There's more hand-to-hand fighting than driving, and what road action that remains is muddled and over-caffeinated, like a yippy little dog that barks so furiously it chokes itself. Screenwriter Chris Morgan, also back for his fourth go-round, hasn't improved with experience.

If you'll remember from the last movie -- and why would you? -- Dom and his team of racer-thieves had successfully heisted $100 million in cash. As the story opens they're living the quiet life of luxury as expat criminals. Then their nemesis lawman, Hobbs (Johnson), shows up with proof that Letty (Rodriguez), Dom's old squeeze, is alive and working for Shaw.

Shaw's exact motivations remain a mystery ... something about stealing computer chips from the U.S. government worth billions. He's got his own crackerjack team of tech specialists, plus some cool low-slung cars that can act like ramps for pursuing vehicles, sending them hurtling.

Brian O'Conner, the former cop-turned-criminal played by Paul Walker, is largely shunted to the side in this outing, other than a set-up about being a new daddy and therefore less wild than the old days.
Also returning are Tyrese Gibson as comic relief Roman, Ludacris as hacker Tej, and Sung Kang and Gal Gadot as crime couple Han and Gisele.

Dom & Co. have plenty of cash and little reason to help out the feds, other than finding out if Letty is really alive. It's the familiar claptrap about sticking together.

Diesel does that strange thing he does where he turns his head sideways to the camera, not looking at the person he's talking to while spouting some heavy-sounding gibberish. Like, "You don't turn your back on your family. Even when they do."

The movie occasionally finds the right gear with some particular piece of roadway mayhem -- a sequence where the good guys take on a tank comes to mind. But whenever the movie detours into characters just standing around talking, it's a complete wipeout.

Video review: "Fast Five"

The formula for "Fast Five," the fifth installment in the street racing franchise, seems to be:

1. Put Vin Diesel, who was absent for the second and third movies, back at the center of the action.
2. Add Dwayne Johnson as a testosterone-pumped federal agent on the gang's trail, setting up a flying-fists showdown with #1.
3. Ratchet up the computer-generated imagery during the races, to the point cars pinwheel and slalom all over the street with barely a nod to the laws of physics.

 The most surprising thing is that this combination largely works, easily delivering the most entertaining movie in the series. At 130 minutes, it's way too long and the amount of juvenile macho posing occasionally reaches choking levels.

Still, there's no denying "Fast Five" is an improvement over the previous four, and it's nice to see a decade-old movie franchise discover it has another gear.

After being framed for the murder of some DEA agents, Vin and the crew (Paul Walker, Jordana Brewster) head down to Rio de Janeiro to hide out, and run into trouble with local crime lord Reyes (Joaquim de Almeida). They're soon snooping out their next big score, assembling some familiar faces to help out.

Hobbs, the all-snarl-all-the-time agent played by Johnson, complicates things with his pesky habit of showing up at the wrong time. We know it's only a matter of time before the two bald brawlers lay the smackdown, and their melee does not disappoint.

Neither does the crazy, culminating chase through the streets of Rio. Like the rest of the movie, it makes not a lick of sense, but it's agreeably fun sitting back and reveling in the mayhem.
Extra features are generous in both Blu-ray and DVD versions.

The DVD includes an extended version of the film, deleted scenes, a gag reel, featurettes on the journeys of Vin Diesel and Paul Walker's respective characters through the series, and another on the introduction of Hobbs. Director Justin Lin also provides a feature-length commentary.

In addition to those, the Blu-ray version adds a breakdown of the fight scene between Diesel and Johnson, a featurette with Lin, another demonstrating how the big final chase sequence was filmed, and a behind-the-scenes look with co-star Tyrese Gibson. Plus, a digital copy of the film.

Movie: 2.5 stars out of four
Extras: 3.5 stars

Review: "Fast Five"

"Fast Five" pops the highest gear of the "Fast and the Furious" franchise, beating all its predecessors in thrills and sheer watchability.

Of course, calling it the best of this lot is like singling out the tallest Pygmy. These movies are sheer silliness, improbable roadway mayhem interspersed with obligatory fistfights and gunplay, all coated with a noxious layer of adolescent macho posturing.

Still, give it props for (mostly) putting the brakes on the unpleasant stuff and hitting the accelerator on what the audience really wants, which is tons of crazy street action. Cars fly through the air, hurtle sideways and backwards at high speeds, and smash into each other at a prodigious rate.

I think of all the people who worked on this movie, the hardest job must've belonged to the guy in charge of procuring all the vehicles, because every day he had to send all these beautiful machines off to the set to be pulverized by director Justin Lin (who's helmed the last three "Furious" flicks).

Vin Diesel, after being absent for most of the second and third movies, is back as Dom Toretto, growly car thief/racer, who seems to invent chips to place on his burly shoulder. After being sprung from a prison bus by his sister Mia (Jordana Brewster) and FBI agent-turned-partner Brian O'Conner (Paul Walker), they head down to Rio de Janeiro to hide out, where they raise the hackles of local crime lord Reyes (Joaquim de Almeida).

As an added bonus, Dwayne Johnson is added to the cast as Hobbs, a super-badass federal agent sent south of the border to bring in the trio after they're wrongfully accused of killing some DEA guys. Personally, I prefer Johnson in snarly action mode to the cuddly kiddie pictures he's been mired in lately. When you resemble The Rock, that's a whole lot of whup-tush staying in the can.

Of course, the audience is being set up for a throw-down between Diesel and Johnson, and the bald behemoths finally oblige around the 75 minute mark. Two 250-pound guys wail on each other for five minutes solid, throwing one another through windows and walls, and by the next scene neither one of them bears so much as a welt.

I also found it curious that Hobbs' law enforcement sidekicks stand with machine guns trained while a suspect pummels their boss, and never do anything to intervene. There's got to be something in the manual about that.

At over two hours, the movie's way too long, and the screenplay (by Chris Morgan) is a structural mess. The entire middle of the film is spent assembling a team (including Tyrese Gibson and Chris "Ludacris" Bridges) to crack a vault in the much-hyped "impossible job" that every movie starring criminals seems to have.

After stealing cars, doing practice runs, stalking Reyes to get his hand print and myriad other schemes to beat a specific set of obstacles, it all gets tossed out the window for a last-minute case of "let's wing it." The payoff is a pretty spectacular sequence of CGI-assisted absurdity through the busy streets of Rio, but it sort of invalidates all the build-up.

I can't quite give the green light to "Fast Five," but any film franchise that's following an upward arc in its fifth go-round is welcome to rev it up again.

2.5 stars out of four

DVD review: "Fast and Furious'

The "Fast and Furious" franchise comes full circle with the fourth film, which reunites original cast members Vin Diesel, Paul Walker and Michelle Rodriguez as gearheads driving tricked-out cars through an improbable and seemingly endless series of chases.

Justin Lin, who also directed the third movie, "The Fast and the Furious: Tokyo Drift," delivers an aggressively stupid action film in which all the women are hoochies with ample cleavage and booty shorts, and all the men are so overpumped with machismo that every exchange of dialogue becomes a duel of glares and snorts.

The cars are the real stars of the movie. Both Diesel, as criminal Dom Toretto, and Walker, as undercover fed agent Brian O'Conner, drive a variety of cool vehicles during the course of the movie, nearly all of which end up in a pile of twisted debris. Toretto's black Charger makes a return from the first film, along with a number of American muscle cars and tuner imports.

The plot involves Dom and Brian infiltrating a Mexican heroin-smuggling ring. There's a big race to determine who will get to join the faceless drug lord's crew of drivers. Dom wins, but then Brian inexplicably is allowed to come along too, which kind of renders the race pointless. It's undoubtedly galling to the drivers who crashed during that race, at speeds that must have left them in the hospital, or mortuary.

"Fast and Furious" comes in single- and two-disc versions. Both include a gag reel and director's commentary by Lin, which tends to stick to pedantic shot-by-shot descriptions.

The two-disc version also includes a digital copy of the film, a short movie called "Los Bandoleros" about Central American crime, and a variety of making-of featurettes. One shows Vin Diesel attending stunt driving school in preparation for the shoot, will another is a breakdown of how they shot the opening heist of a big rig towing five fuel tankers.

Movie: 1.5 stars
Extras: 3 stars