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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.

    Vin Diesel in F9: The Fast Saga.

    Vin Diesel in F9: The Fast Saga
    Photo courtesy of Universal Pictures
    Vin Diesel in F9: The Fast Saga.
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    Movie Review

    Amanda Seyfried and Sydney Sweeney go off in trashy film The Housemaid

    Alex Bentley
    Dec 19, 2025 | 12:24 pm
    Amanda Seyfried and Sydney Sweeney in The Housemaid
    Photo courtesy of Lionsgate
    Amanda Seyfried and Sydney Sweeney in The Housemaid.

    Both Amanda Seyfried (the upcoming The Testament of Ann Lee) and Sydney Sweeney (Christy) are starring in movies with Oscar ambitions this year. By sheer coincidence, the two actors are also co-starring in The Housemaid, a thriller coming out within weeks of their more ambitious works, one that is likely to be seen by many more people than those prestige plays.

    Sweeney is given top billing as Millie, a down-on-her-luck ex-convict looking to land any type of job so as not to break her parole. She finds a too-good-to-be-true lifeboat with Nina (Seyfried), who hires her to be a housemaid for her large house on Long Island, where she lives with her husband, Andrew (Brandon Sklenar), and daughter, Cecilia (Indiana Elle).

    After a warm interview, Nina almost immediately becomes highly erratic, whipping back-and-forth between happy-go-lucky and rageful. It seems clear that Nina is suffering from mental health issues, as she’ll often accuse Millie of misplacing or stealing items that she didn’t take. Andrew, apparently used to Nina’s tirades, tries to protect Millie from the worst, something that grows increasingly difficult as Nina ups the ante.

    Directed by Paul Feig (A Simple Favor) and adapted by Rebecca Sonnenshine from the bestselling book by Freida McFadden, the film is likely the trashiest mainstream movie to come out in 2025. The first half of the movie relies not on story but on moments as Nina embodies the word “hysterical” to an unbelievable extent. The resigned acceptance of the abuse by Millie, as well as the saintly patience of Andrew, make almost every scene laughable, as nobody seems to be acting anywhere close to how a person would normally react to such extreme situations.

    The scenes and the performance of Seyfried are so over-the-top, in fact, that it’s clear that the filmmakers are in on the joke. It’s next to impossible not to have a little bit of fun while watching the actors react to outrageous incidents as if nothing is out of the ordinary. The worse Nina acts, the more Millie and Andrew retreat into their chosen roles, and the funnier the film becomes.

    Fans of the book will know that the story changes course, eventually turning into a more stereotypical thriller that also has some relatively gnarly visuals to offer. But the trashiness continues, with Sweeney’s, um, assets repeatedly on display in both clothed and unclothed ways. The sex appeal of the R-rated movie makes it an outlier, as recent studio films have shied away from asking their big stars to disrobe completely.

    Both Seyfried and Sweeney are far from their Oscar hopeful roles here. Seyfried is given free rein to act as brazenly as she pleases, and she takes full advantage of that ability. Sweeney seems to have been told to be much more reserved, and unfortunately that results in too many wooden line readings. Sklenar continues his breakout streak (It Ends with Us, Drop) with a role that allows him to show more range than either Seyfried or Sweeney.

    The Housemaid is an unusual type of movie to be released at a time of year when most films are either those aiming for awards or more family-friendly fare. Despite its many flaws, it’s still an enjoyable watch that features a variety of crazy scenarios not typically seen in movies nowadays.

    ---

    The Housemaid is now playing in theaters.

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