‘Fast & Furious 9’, to infinity and beyond Culture


With the exception of the long-running James Bond film series, distinctive because it has changed performers and managers over seven decades, there is no memory of a franchise with a single title and stable protagonists that has reached its ninth installment with popular health. and the triumph at the box office of Fast & Furious. A saga with a hesitant initial third, but which, precisely, ended up benefiting the last turn of the 007 productions towards a more serious tone and a greater complexity of characters and story, already with Daniel Craig as the protagonist, leaving the usual gap for a more unprejudiced and basic spy franchise, in which only the fireworks mattered and in which, simply, everything was worth to leave fans speechless.

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The sixth, directed by Justin Lin, might mark the high point of spectacularity of a serial that, on time, has incorporated action film stars (from Dwayne Johnson to John Cena, its last link, passing through Jason Statham), solved death of one of his emblematic faces, that of Paul Walker, and convinced with a mixture of goose pasta, self-parodic sense of humor and lavishness in the composition of his most relevant sequences to big names in Hollywood at first unrelated to this type of product, see Charlize Theron and Helen Mirren, repeaters in this Fast & Furious 9, which is finally released after several pandemic delays.

Since that sixth chapter, the franchise has not declined, despite its fatal stubbornness in elephantine films (again, almost two and a half hours), thanks to the work of directors such as James Wan and F. Gary Gray, and a fusion between the staging and editing orgasms, the loud screams of their cars, the camaraderie of their cast of characters and, as here, some arguments where the power of the legacy in the context of stories close to the family serial acts as a basic scheme (or even coarse) for the emotional decision-making of their creatures.

Lin, who returns after two films without taking the steering wheel, demonstrates in two long and powerful sequences on a pedestrian mountain road and in the streets of Edinburgh that few roll and ride the action like him. And the “do not leave yet, there is still more” reaches an even more delusional bar than that of the flying cars, from building to building, of the seventh installment. Where are we going to upload them this time, to space or what? Hold my cubata, we do it. And also the public will swallow it.


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