Fast Furious Tagged Articles at Cinematical

Fast & Furious
"Not only is the story silly, but there's not even much car-racing in it -- and why would anyone want to watch this movie if it doesn't have a lot of car-racing in it?" Eric D. Snider asked. "It turns out minimizing the one entertaining element of a franchise was a BAD idea!" Alas, I must agree. Also on Blu-ray. Skip it.

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Bart Got a Room.
"It's not much different from other nerdy-teen-needs-date-for-prom flicks," noted Erik Davis in his review, "but it sure as hell packs a ton of heart and has a lot of fun. It's alive, it's colorful, it's got well-written characters and more than a handful of memorable scenes." Steven Kaplan stars, with William H. Macy and Cheryl Hines as his newly-divorced parents. Rent it.

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Dragonball: Evolution
"It's not aggressively bad," opined the long-suffering Eric D. Snider, "It's more like a dumb, energetic puppy." Personally, I think he was being far too kind to a sloppy, embarrassing, and dull movie. Also on Blu-ray. Skip it.

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Miss March
"Up until yesterday I was having trouble keeping track of all the movies that were contenders for the worst of 2009," confessed Jeffrey M. Anderson, "and I couldn't decide which one topped the list. Now my head is clear of such decisions. I've seen Miss March." Also on Blu-ray. Skip it.

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Also check out: This week's TV on DVD releases at TV Squad.

New indie film releases, more Blu-ray picks, and a look at the Collector's Corner -- featuring the complete BSG set -- all after the jump!

You gotta respect Hannah Montana. Where her comrades in arms, the Jonas Brothers, were just recently defeated, she has emerged bloodied but victorious. Her $34 million weekend is roughly on par with her own concert film, which opened to $31 million last February on about a quarter of the screens -- I think that range pretty well represents the Hannah Montana brand's draw at this point in time. Concert Tour dropped pretty swiftly after that, topping out at $65 million; the narrative film may have slightly better legs, though last fall's High School Musical 3 faded out pretty quickly too.

The weekend's neatest trick is the $11 million for Observe and Report: not a standout opening for Seth Rogen (though slightly stronger than Zack and Miri Make a Porno), but impressive considering that Observe & Report is basically a twisted art film that doesn't belong in wide release by any traditional measure. Don't get me wrong, I'm thrilled that Warners managed to pull this off; I just wanted to highlight the achievement. Given that the movie has even freaked out much of the usually hardy critical community, I'm dying to see how and if it holds up at the box office. The other R-rated comedy that premiered at SXSW, I Love You, Man, has thrived, dropping 17% in its 4th week on its way to a cheerful $75 million. But that movie is, oh, 50 times more accessible.

As for Fox's Dragonball Evolution: not so much. I think they might have been a couple years too late in capitalizing on the brand, as the kids who were really into the franchise when it was hot grew up a bit and lost interest. $4.6 million stings.

More, and the top 10, after the jump.

With that headline, you're free to make any number of assumptions as what, exactly, filmmaker George Lucas was wrong about. Was he wrong to make the Ewoks cute and furry? Was he wrong to tweak the sacred Original Trilogy into pristine beauty? Was he wrong about Jar Jar Binks? Was he wrong about Indiana Jones? I could go on and on, but Vanity Fair writer Julian Sancton narrows it down to one thing, claiming that Lucas was wrong about ... (drum roll, please) ... the future of movies.

VF points to the "startling predictions" he made two and a half years ago "that the age of the blockbuster was over; that 'the secret to the future' was a large quantity of small, web-distributed movies; and that the habit of moviegoing would be a thing of the past." (See Cinematical's story from three years ago with similar Lucas predictions.) VF says that the crazy opening of Fast & Furious proves that "people are still thirsting for relatively cheap entertainment, and that big-budget, mindless, good-bad movies are a welcome distraction from the general glumness."

VF offers their own prophecies: fewer "middle-range" movies (budgeted between $25 - $100 million); more people investing in movies; plummeting DVD sales; and more frequent record-setting opening weekends. Frankly, those sound boring compared to Lucas' predictions, so let's go back to his ideas.

Was George Lucas wrong? Do you even care how much movies cost to produce? Or are you more concerned about the price of a ticket? For those of you who are regular (every week or two) moviegoers: Will you go see any big, dumb movie just to distract you from other problems? For less frequent moviegoers: Are you staying home because it's more convenient, or because the quality of movies has gone down?

The films in the Fast and the Furious series have gotten progressively dumber since the harmlessly energetic 2001 original, and the latest, reductively called Fast & Furious, takes it a step lower. Not only is the story silly, but there's not even much car-racing in it -- and why would anyone want to watch this movie if it doesn't have a lot of car-racing in it?

Like the rest of us, Fast & Furious has nothing to say about the last film, Tokyo Drift. instead, it picks up a few years after 2 Fast 2 Furious left off. Thick-necked carjacker Dominic Toretto (Vin Diesel) and surfer-voiced FBI agent Brian O'Conner (Paul Walker) are reunited when both have cause to infiltrate a Mexico-based drug cartel operating in Los Angeles. Dominic's reasons are personal and revenge-based, while Brian has the law on his side.

As luck would have it, the mysterious drug kingpin Arturo Braga is looking for expert drivers, which Dom and Brian both happen to be. If they can prove themselves worthy in a street race (who would have guessed?) they're hired, giving them access to the inner workings of the cartel. I guess this is more effective for Braga than conducting traditional job interviews.

It all amounts to far more espionage and intrigue than a movie that's ostensibly about fast cars ought to have. I would like to have witnessed the pitch meeting where the screenwriter, Chris Morgan (Tokyo Drift), convinced the producers that an emphasis on Dom and Brian's personal lives would be of much greater interest than car racing. They must be kicking themselves now for believing him, because here's the finished product -- with lots of dumb storytelling and only a couple auto-racing sequences -- and it's worse. It turns out minimizing the one entertaining element of a franchise was a BAD idea!

It's no secret that Hollywood is sequel crazy, but it's gotten to the point where it's hard to tell at a glance if a movie is a sequel or something new all together. Here are five trailers I had to closely scrutinize before I could determine whether or not sequalization was occurring.

Fast & Furious
Yup, this one's definitely a sequel, the fourth installment in the series launched by 2001's The Fast and the Furious. First off I give the whole franchise kudos for having the originality to give each of the films its own title and not just slapping on an escalating series of numbers. Furthermore, despite never having seen any of the others in the series, this trailer piqued my interest. Vin Diesel and co-star Michelle Rodriguez are seen here hijacking a tractor trailer hauling multiple tankers of gasoline, and the action is downright spectacular. Granted, the almost subliminal lesbian make out scene doesn't hurt either, but I could get behind seeing this. Here's what William had to say on the trailer.

Sukyaki Western Django
At first glance one might think this was a belated sequel to the 1966 spaghetti western Django. In reality this is an ultra violent homage to the genre with Takashi Miike at the helm and with Quentin Tarantino appearing in a supporting role. I've seen a few of Miike's film's, but the one I remember best is the bizarre and brutal Ichi the Killer, so I'm curious to see how he does with a Western. The preview is a frenetic barrage of action scenes with plot details being of secondary concern, but there's some wild stuff here, including bullets being deflected by samurai swords much in the way a Jedi would deflect a laser blast with his light sabre. The film is shot in English, though according to Jeffrey's review of the film, the mostly Japanese cast's unfamiliarity with the language is a drawback. Still, this looks pretty cool. Sukyaki Western Django goes into limited U.S. release this weekend, so I don't imagine it will be long before it's available on DVD.