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    Movie Review

    F9: The Fast Saga takes series' absurdity to new heights

    Alex Bentley
    Jun 24, 2021 | 9:00 am
    F9: The Fast Saga takes series' absurdity to new heights
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    At this point in the Fast & Furious franchise, which has improbably reached nine films plus one spin-off, all semblance of logical storytelling and real-world physics has long been thrown out the window. The filmmakers know what fans want, and that is action sequences where people and cars accomplish impossible feats, with any actual storytelling coming in a distant second or third.

    The previous entry, The Fate of the Furious, found the franchise fully changing into a comic book style, and F9 (technically called F9: The Fast Saga) goes even further, straight up acknowledging the ridiculousness of what they’re presenting on screen and inviting the audience to laugh along with them.

    Since family in its many forms has been the theme of the franchise since the beginning, it’s no surprise it’s at the center of this film as well. Dom (Vin Diesel), raising his son with now-wife Letty (Michelle Rodriguez) off the grid, is brought back into the, let’s say, spy game when his group of friends – which includes Roman (Tyrese Gibson), Tej (Chris “Ludacris” Bridges), and Ramsey (Nathalie Emmanuel) – get a message from Mr. Nobody (Kurt Russell) that a plane carrying something very important has crashed in Mexico.

    Macguffin now in place, the group races into action, only to discover that another person is after the same mysterious object. Spoiler: It turns out to be Dom’s heretofore unknown brother, Jakob (John Cena), whom we come to learn has been at odds with Dom ever since their father died in a race car crash 30 years ago. Now, he’s teamed up with Otto (Thue Ersted Rasmussen), the son of a billionaire, and a captured Cipher (Charlize Theron) to use the device to … oh, who cares?

    All that’s important is that framework allows writer/director Justin Lin and co-writer Daniel Casey to put the characters and their vehicles in all manner of fantastical situations, ones that involve … (checks notes) … a rickety rope bridge, a stealth bomber, super-powered magnets, and a space-bound Pontiac Fiero. The action finds the characters – and their cars – hopping around the world as easily as you or I would cross the street. Anyone trying to follow the progression of the plot would do better beating their head against a wall, because none of it makes sense.

    Let’s be clear: F9 is not a good movie. But the filmmakers aren’t trying to make a “good” movie, at least not in the traditional sense. They’re trying to up the ante on all the stunts that have come in the previous films, and appeal to the base instincts of moviegoers, many of whom just want to be entertained without thinking. And the film certainly succeeds on those counts. Every other action movie that has been called “over-the-top” must now bow down in reverence to this one, which is sure to be topped by the forthcoming 10th installment.

    In addition to the main group, the film brings back fan favorites like Twinkie (Shad Moss, aka Bow Wow), Sean (Lucas Black), and Han (Sung Kang), each of whom played a part in the series’ third entry, Tokyo Drift. And not including Theron, who shows up in a handful of scenes in one location and probably put in one day’s work, there are cameos by Helen Mirren, reprising her role from Hobbs & Shaw, and – why not? – Cardi B, Bad Bunny, and podcaster Bill Simmons.

    Anyone willingly going to see F9 knows exactly what type of movie they’re going to get, and it ain’t high art. But the actors know exactly how to play their roles amid all the insane action sequences, and the filmmakers are in on the joke, so it’s best to just sit back and let the absurdity wash over you.

    ---

    F9: The Fast Saga opens in theaters on June 25.

    Michelle Rodriguez in F9: The Fast Saga.

    Michelle Rodriguez in F9: The Fast Saga
      
    Photo courtesy of Universal Pictures
    Michelle Rodriguez in F9: The Fast Saga.
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    Movie Review

    Stephen King film adaptation The Life of Chuck aims for the heart

    Alex Bentley
    Jun 13, 2025 | 1:20 pm
    Tom Hiddleston in The Life of Chuck
    Photo courtesy of NEON
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    Just like actors, once a filmmaker becomes known for a certain genre, it can be difficult to escape that pigeonholing. Writer/director Mike Flanagan has worked for 20 years in both film and television, and literally every project he’s done has been related to horror. He’s finally breaking out with The Life of Chuck, which is ironically based on a short story of the same name by Stephen King.

    Told in three chapters in reverse order, the film is almost impossible to describe without giving away its magic. The first section centers on Marty (Chiwetel Ejiofor), a teacher grappling, like everyone around him, with what seems to be the world falling apart. He’s comforted to a degree by reuniting with his ex-wife, Felicia (Karen Gillan), but is also baffled by multiple ads touting the retirement of Charles “Chuck” Krantz (Tom Hiddleston) after “39 great years.”

    The second section consists of little more than a slightly younger Chuck happening upon Taylor (The Pocket Queen), a drummer busking on a street corner, giving Chuck and a younger woman, Janice (Annalise Basso), the inspiration to start dancing. The final section goes back to the childhood of Chuck (Benjamin Pajak), where he’s raised by his grandparents (Mark Hamill and Mia Sara), discovers dance as an outlet, and wonders about various small mysteries.

    Flanagan finds a way to deliver a lot of story with relatively little effort. Using a wry narrator (Nick Offerman), a limited number of locations, and a series of great small performances, he creates an intriguing premise with few straightforward answers. The structure of the film is designed to confuse the viewer until just the right moment, and the revelation forces you to reexamine everything that came before.

    The biggest accomplishment by Flanagan is making what are essentially three short films and having each of them resonate equally. The film contains elements of science fiction, although the first section may hit a bit too close to home for some of those watching. All three sections, though, have a heartwarming bent to them that sells their central idea without becoming overly saccharine.

    To do so, each of the characters have to connect in a short amount of time. The casting of the film is crucial, and not only does that department succeed with the main roles, but a series of small roles are filled expertly as well. Carl Lumbly as a funeral home owner, David Dastmalchian and Harvey Guillen as parents of students, Matthew Lillard as Marty’s neighbor, Q’orianka Kilcher as Chuck’s wife, and Jacob Tremblay as a teenage Chuck are just a few of the recognizable actors that do yeoman’s work in their brief time on screen.

    Hiddleston is only prominently featured in the second chapter, but his performance there and in small glimpses throughout makes a big impression. Ejiofor is given the star turn in the first chapter and he absolutely kills, both in moments by himself and in scenes with Gillan, with whom he has great chemistry. Hamill, making a rare non-voiceover appearance outside of the Star Wars universe, and Sara, in her first notable role in 11 years, are also very memorable in the final chapter.

    The Life of Chuck is a film that’s filled with emotion, but the full impact of the story is not felt until the final moments. It has a mysterious journey that is initially frustrating, but the performances keep the film going until it gets to its satisfying payoff.

    ---

    The Life of Chuck is now playing in theaters.

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