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Tag Archives: Paul Walker

Uh-Oh! Here Comes Summer! – Furious 7 (2015) and Avengers: Age of Ultron (2015)

03 Sunday May 2015

Posted by dullwood68 in Movies

≈ 2 Comments

Tags

Action, Avengers, Black Widow, Chris Evans, Chris Hemsworth, Crime, Deckard Shaw, Dominic Toretto, Drama, Dwayne Johnson, Hulk, Iron Man, james Wan, Jason Statham, Joss Whedon, Mark Ruffalo, Marvel Cinematic Universe, Paul Walker, Reviews, Robert Downey Jr, Sequels, Superheroes, Thor, Thriller, Ultron, Villains, Vin Diesel

Furious 7

Furious 7 (2015)

aka Fast and Furious 7

D: James Wan / 137m

Cast: Vin Diesel, Paul Walker, Michelle Rodriguez, Jason Statham, Jordana Brewster, Dwayne Johnson, Tyrese Gibson, Ludacris, Kurt Russell, Nathalie Emmanuel, Elsa Pataky, Djimon Hounsou, Tony Jaa, Ronda Rousey, John Brotherton, Lucas Black

Having bested Owen Shaw and his gang in the previous instalment, now Dominic (Diesel), Brian (Walker), Letty (Rodriguez), and what seems like every main character from the series, have to pull together – with the aid of the mysterious Mr. Nobody (Russell) to take down his vengeful brother, Deckard Shaw (Statham). Throw in the hunt for a software programme, and its creator (Emmanuel), that can track anyone anywhere in the world, a trip to Abu Dhabi, and the usual amount of hyper-realistic cartoon violence, and you have the most successful entry in the franchise to date with, at time of writing, a worldwide gross of $1,352,724,000 (making it the fourth highest grossing movie ever).

Avengers Age of Ultron

Avengers: Age of Ultron (2015)

D: Joss Whedon / 141m

Cast: Robert Downey Jr, Chris Hemsworth, Mark Ruffalo, Chris Evans, Scarlett Johansson, Jeremy Renner, James Spader, Samuel L. Jackson, Don Cheadle, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, Cobie Smulders, Anthony Mackie, Hayley Atwell, Idris Elba, Stellan Skarsgård, Linda Cardellini, Claudia Kim, Thomas Kretschmann, Andy Serkis, Julie Delpy, Henry Goodman

In an attempt to retire the Avengers from group duty, Tony Stark (Downey Jr) creates a robot that comes equipped with artificial intelligence. Only there’s a flaw: the robot, named Ultron (Spader), sees the best way of carrying out his peacekeeping mission is to wipe out the human race (and thereby ensure a peaceful world). With internal conflicts hampering their efforts to combat Stark’s creation, the introduction of Quicksilver (Taylor-Johnson) and Scarlet Witch (Olsen) to the mix, a showdown between the Hulk (Ruffalo) and Iron Man in his Hulkbuster suit, and Ultron planning an extinction level event, you have a sequel that has made $424,460,000 at the box office in just over a week.

And so we have the first two candidates for 2015’s Mega-Blockbuster of the Year Award. In the red corner we have the testosterone-fuelled, carmageddon-inspired Furious 7, and in the blue corner we have Avengers: Age of Ultron, the latest juggernaut designed to increase Marvel’s grip on the world and its wallet. The inclusion of their box office takes is deliberate, as this is really what both these movies are about: making as much money as possible off the back of a heavily marketable idea. That the idea is becoming stale (Furious 7) or showing signs of running out of steam already (Avengers: Age of Ultron) is neither here nor there. These movies are guaranteed crowd pleasers, and all the studios that make them have to do is give the fans enough of what they like most to ensure those big box office grosses.

It’s a well-known fact that recent entries in the Fast and Furious franchise have been built around the action sequences: the stunts come first and then a story is created around them. Such an approach isn’t exactly new, but as the series continues, it appears that the writer, Chris Morgan, is fast running out of ways to keep it as real as possible given the absurd, physics-defying world Dominic and his family live in. Morgan has scripted every movie since The Fast and the Furious: Tokyo Drift (2006), and this time round the law of diminishing returns has clearly set in with a vengeance. With its dodgy timescales, crude attempts at characterisation, and action sequences that go on and on and on without ever changing pace (or should that be, gear?), Furious 7 is a movie that believes in its hype so much that it’s forgotten it still needs to make an effort beyond what’s expected of it.

Of course, script revisions had to be made due to the untimely death of Paul Walker, but like so many of the cast, he’s marginalised in a movie that has too many characters and too little time to do much with them apart from put them in continual jeopardy. Brewster is sidelined in the Dominican Republic (admittedly, not so bad), Johnson winds up in hospital until needed at the end, and Walker’s contribution seems reduced to fighting Tony Jaa. But with the script showing more interest in the villains (Statham, Hounsou, Russell maybe) than its heroes, it comes as a bit of a shock to realise that the main characters have nowhere to go – everyone, even Letty with her amnesia, is still the same as they were when they first appeared. Maybe this kind of familiarity is what the fans want but ultimately it just means that future entries – and there are three more planned for release – will continue to mine the same formula and with less satisfying results.

Furious 7 - scene

The same problem that occurs in Furious 7 occurs in Avengers: Age of Ultron, namely what to do with so many different characters, especially the new ones. Writer/director Whedon doesn’t appear to be as sure this time round as he was on the first Avengers movie (and it may be why he won’t be helming the two Avengers: Infinity War movies). While he does effective work exploring the personalities and idiosyncrasies of the Avengers themselves – Stark’s continuing egotism, a burgeoning relationship between Bruce Banner and Black Widow (Johansson), where Hawkeye (Renner) spends his downtime – he’s less successful when it comes to the villain, the villain’s sidekicks, and the whole let’s-level-a-city-and-cause-as-much-destruction-as-possible angle.

With so many characters to deal with, it’s inevitable that some of them don’t receive as much attention as others. The introduction of Quicksilver and Scarlet Witch is a case in point, with Taylor-Johnson reduced to asking people he’s knocked over if they saw that coming (and not just once), and Olsen saddled with a perma-frown as she casts spells on people. They have a back story but it doesn’t impact on how they behave in the movie, and their teaming up with Ultron seems convenient rather than a well thought out plot development. Likewise, we have appearances by Kretschmann (dispensed with too quickly), Serkis (as an intro to his character’s appearance in Black Panther), and Delpy (as Natasha Romanoff’s childhood instructor). All great actors, and all reduced to walk-ons in the service of the ever-expanding Marvel Cinematic Universe.

But all great superhero teams need a great villain, and while Ultron seems to pass muster, the main problem with him is the actor cast to play him. Now it’s not that James Spader is a terrible actor – far from it – but what’s clear from his performance is that, rather than come up with an entirely new characterisation, he’s gone for a slight deviation on Raymond Reddington from The Blacklist… and it’s been encouraged. As a result we have a robot that often sounds whimsical rather than destructive, and petulant when he should be megalomaniacal. Whedon is good at injecting comedy into his movies – here, the throwaway line “No it wasn’t” is used perfectly – but when he tries too hard, as he does with Ultron, the effect is lost, and the viewer could be forgiven for wondering if Ultron is meant to be so eccentric.

On the action front, once again we’re treated (if that’s the right word) to another massive showdown where buildings are levelled, the Avengers fight off an army of attackers (last time the Chi’tauri, this time Ultron’s robots), and the special effects budget goes through the (recently blasted) roof. The whole massive destruction approach is a huge disappointment, having been done to death already in movies such as Man of Steel (2013) and the previous Avengers outing (and even Furious 7 with its car park demolition). (If anyone is listening, please let Thanos take on the Avengers on his own when he finally “does it himself”.)

Avengers Age of Ultron - scene

Ratings:

Furious 7: 6/10 – overblown (though no surprises there) and lacking a coherent story, Furious 7 has all the ingredients the fans love, but as a tribute to the late Paul Walker it falls short; a triumph of hype over content, someone seriously needs to look under the hood before taking this particular baby out for another drive.

Avengers: Age of Ultron: 7/10 – overblown and lacking in any real drama, Avengers: Age of Ultron skates perilously close to being Marvel’s first dud since Iron Man 2 (2010); saved by Whedon’s attention to (most of) the characters, it lumbers through its action set-pieces with all the joy of a contractual obligation.

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The Fast and the Furious (2001)

31 Saturday Jan 2015

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

Action, Brian O'Conner, Crime, Dominic Toretto, Drama, Hijackings, Jordana Brewster, Michelle Rodriguez, Paul Walker, Race Wars, Review, Rob Cohen, Street racing, Thriller, Undercover cop, Vin Diesel

Fast and the Furious, The

D: Rob Cohen / 106m

Cast: Vin Diesel, Paul Walker, Michelle Rodriguez, Jordana Brewster, Rick Yune, Chad Lindberg, Johnny Strong, Matt Schulze, Ted Levine, Ja Rule, Vyto Ruginis, Noel Gugliemi, Reggie Lee

In Los Angeles, a gang of thieves are hijacking trucks using heavily modified Honda Civics. Sent undercover to find out who is behind the thefts, cop Brian O’Conner (Walker) infiltrates the street racing scene, making a particular impression at Toretto’s Market where he flirts with Mia Toretto (Brewster). This angers Vince (Schulze) who is attracted to Mia and is part of Dominic Toretto (Diesel)’s crew (Dominic is the focus of Brian’s investigation). Vince and Brian fight but Dominic breaks it up. Later, Brian turns up at a street race and bets his car’s pink slip that he can beat Dominic, but he loses. The police arrive to break up the event and Brian sees a chance to get into Dominic’s good books: he helps him get away.

They find themselves in territory controlled by Dominic’s old rival, Johnny Tran (Yune) and his cousin Lance (Lee). Johnny blows up Brian’s car, leaving him to find a “ten-second car” for Dominic. He finds a wrecked Toyota Supra and brings it to Dominic’s garage where he starts to restore it; he also begins dating Mia. Evidence points toward Tran being responsible for the hijackings, but a raid on Tran’s property reveals the goods Brian has seen there to have been legally purchased. With Tran no longer a suspect, Brian begins to believe that Dominic and his crew are responsible.

A street racing event, Race Wars, sees Dominic’s friend, Jesse (Lindberg) lose a race with Tran. Jesse flees with the car he should have handed over. Tran demands Dominic find the car and bring it to him, but Dominic is less than accommodating. Instead of looking for Jesse, Dominic and his team (who are the thieves), attempt a heist in order to help get Jesse out of Tran’s debt. But the heist goes wrong, and when Vince is badly injured, Brian breaks his cover to get him help.

Brian later attempts to arrest Dominic but he’s interrupted by the return of Jesse, who is killed by Tran and Lance in a drive-by shooting. Dominic and Brian both go after them, and it leads to a desperate chase through the streets and Brian making the toughest decision of his police career.

Fast and the Furious, The - scene

Back in 2001, the idea that this modest, straight-shooting actioner would spawn six sequels, and that they would be increasingly successful – so much so that the fifth sequel in the series, Fast & Furious 6 (2013) would gross over $750 million worldwide – seemed an unlikely one. The cast weren’t exactly household names, the director had made a modest success of Dragon: The Bruce Lee Story (1993) but again wasn’t very well known, and the concept of street racing as a backdrop for criminal activity involving high-speed cars didn’t sound that exciting.

And yet the movie was – and remains – a pleasant surprise, not quite as high-octane as some of its successors, but (if it’s at all possible) more grounded and less reliant on being over the top. The car chases and vehicular action sequences are all well-staged and expertly choreographed, but there’s a lot of attention paid to the characters, and their milieu is entirely credible. With the groundwork providing a solid basis for the action, the movie is free to examine notions of brotherhood, loyalty, respect, and most of all, family, with Dominic in the role of pater familias.

All this offsets some of the sillier aspects of the script – Brian’s superiors behave like they’ve had a collective tyre iron shoved somewhere uncomfortable, and make noises like spoilt children; the final heist is attempted on one of those long American roads that no one else travels along – and helps make the movie more than just a collection of scenes that car fetishists will replay over and over again. The cars are spectacular, and the street racing scenes do have a raw energy to them, but it’s the growing bromance between Dominic and Brian that takes centre stage and proves the most enjoyable element, as the gruff, laconic mechanic-cum-street-racer-cum-hijacker takes the foolhardy policeman under his wing and welcomes him into a world he barely knew existed. It’s a little too neat that Brian keeps Dominic out of jail and places his own career in jeopardy, and Brian’s reasons for doing so are never adequately explained, but within the confines of the movie it still, somehow, works.

As ever, Diesel does brooding with his usual menacing insouciance, while Walker is all tousled curls and winning smile, but not quite the fully formed character the movie needs (though this is due more to the script by Gary Scott Thompson, Erik Bergquist and David Ayer than Walker’s actual performance). On the distaff side, Rodriguez is as ballsy as you’d expect, and Brewster provides a softer contrast, though in most respects their characters serve as eye candy with dialogue (again a problem with the script). Of the supporting cast, only Schulze makes any real impression, and it soon becomes clear that none of the rest are going to return in later instalments.

Similarities to Point Break (1991) are pretty obvious, but The Fast and the Furious is still its own thing, a turbo-charged action movie that Cohen has fun with, changing gears with gusto and setting up several moments where the audience can say “wow!” and not feel embarrassed immediately afterward. There’s a terrific score by BT that fuses industrial, hip-hop and electronica and perfectly suits the movie’s mise en scene, as well as providing a propulsive background to some of the car sequences. And if not all the car stunts seem likely, it’s worth bearing in mind the physics-defying absurdity of some of the movies that followed.

Rating: 7/10 – a solid, unpretentious beginning to the franchise, The Fast and the Furious is one of those guilty pleasures guaranteed to put a smile on your face – every time; fast moving and tense, the movie aims for thrills and spills and doesn’t disappoint.

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Mini-Review: Brick Mansions (2014)

13 Wednesday Aug 2014

Posted by dullwood68 in Movies

≈ Leave a comment

Tags

Action, Banlieue 13, Camille Delamarre, David Belle, Detroit, Luc Besson, Parkour, Paul Walker, Remake, Review, RZA, Undercover cop

28616Quad_Final.indd

D: Camille Delamarre / 90m

Cast: Paul Walker, David Belle, RZA, Gouchy Boy, Catalina Denis, Ayisha Issa, Bruce Ramsay, Richard Zeman, Andreas Apergis, Carlo Rota, Frank Fontaine

In the not-too-distant future, Detroit has erected a wall around an area known as Brick Mansions.  Ruled over by crime boss Tremaine Alexander (RZA), this ghettoised area is full of drugs and guns and gang members (but not, it seems, any ordinary folk).  When the Mayor (Ramsay) decides that Brick Mansions has to be replaced by a brand new commercial development, he concocts a plan that involves sending undercover cop Damien Collier (Walker) into Brick Mansions to retrieve and “disarm” a hijacked bomb that could destroy the entire area.

On the inside, Alexander is having his own problems.  One of his drug shipments has been stolen by Lino (Belle) (and for no other reason than because the script needs him to).  When Lino proves too elusive to capture, Alexander has his ex-girlfriend Lola (Denis) kidnapped in retaliation.  He tries to rescue her but ends up in jail where Collier engineers a meeting with him and then tries to use him as a way of finding the bomb.  They form an uneasy alliance, and go after Alexander and the bomb together.

Brick Mansions - scene

As unnecessary remakes go, Brick Mansions gets by on its high-impact action scenes – expertly crafted and assembled by Delamarre and the movie’s stunt team – and the still impressive parkour abilities of Belle (who starred in the original movie, Banlieue 13 (2004), and doesn’t look a day older).  Beyond these elements, though, the movie pays lip service to plotting, characterisation, consistency and credibility, and merely jumps from one action sequence to the next with a minimum of fuss or subtlety.

The performances range from so-so (Belle, who has only the one facial expression) to trying (Walker, unable to create a character out of nothing), to embarrassing (RZA – when will someone tell him he can’t do menacing?).  The rest of the cast struggle with roles so under-developed they don’t even reach the level of being generic, and Luc Besson’s script (adapted from his co-written original) further handicaps everyone by relying on the kind of dialogue that sounds like it’s been badly translated from the original French.  While it’s true that Banlieue 13 isn’t perfect, it’s still the much better movie, and all Brick Mansions does is prove it.

Rating: 4/10 – a movie where acting was clearly not a requirement, Brick Mansions revels in its many patent absurdities; as brain-dead a movie as you’re likely to see all year but saved from being a complete loss by its well-staged action sequences.

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Mini-Review: Hours (2013)

06 Friday Jun 2014

Posted by dullwood68 in Movies

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Tags

Drama, Eric Heisserer, Genesis Rodriguez, Hospital, Hurricane Katrina, Looters, New Orleans, Paul Walker, Premature baby, Review, Ventilator

Hours

D: Eric Heisserer / 97m

Cast: Paul Walker, Genesis Rodriguez, Nancy Nave, Shane Jacobsen, Natalia Safran, TJ Hassan, Lena Clark, Yohance Myles, Kerry Cahill

Just before Hurricane Katrina makes land in New Orleans in August 2005, Nolan Hayes (Walker) and his pregnant wife, Abigail (Rodriguez), arrive at Saint Mary’s hospital.  Abigail has their baby prematurely but dies as a result.  The baby is put on a ventilator until she can breathe for herself.  Soon after, the hospital is evacuated.  Nolan stays behind with his daughter as the ventilator she’s in can’t be moved.  When the power fails, Nolan has to hook up the ventilator to a battery charger, but the ventilator battery is faulty and Nolan has to hand crank the charger every three minutes.  But as time goes by, the battery retains less and charge, and Nolan’s attempts to get help are hampered by having to return to the charger every couple of minutes or so.  And then he realises there are looters in the hospital…

Hours - scene

Hours, despite its disaster-of-the-week TV-movie trappings is a reasonably well produced human drama that acts as a showcase for the talents of the late Paul Walker.  Once the hospital is evacuated, the movie does its best to ramp up the tension but whatever happens, and wherever Hayes goes in the hospital (including at one point, the roof), he always makes it back in time to crank up the charger, even when he’s knocked unconscious trying to restart the hospital’s generator.  This hampers the movie and reduces Walker to running down the same corridor over and over, and being filmed using the crank over and over.  It makes for a frustrating watch, and writer/director Heisserer never overcomes this basic flaw in his script.  Also, Hayes isn’t really required to be too resourceful, and deals with each successive problem with relative ease.

With the tension never reaching a level that leaves the ending in any doubt, Hours is only occasionally compelling.  Walker puts in a good performance, and Rodriguez (seen mostly in flashback as Hayes tells his daughter how they met etc.) does well in support, while Heisserer directs capably enough but without any visual flair.

Rating: 5/10 – a lacklustre drama that never really puts its premature newborn in any real jeopardy, Hours coasts along for much of its running time; one for fans of Walker, but otherwise, of only passing interest.

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10 Reasons to Remember Paul Walker (1973-2013)

03 Tuesday Dec 2013

Posted by dullwood68 in Movies

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Tags

Actor, Brian Conner, Career, Movies, Paul Walker

Paul Walker (12 September 1973 – 30 November 2013)

Paul Walker

I first encountered Walker in The Fast and the Furious (2001), but he’d been working solidly in film and TV since 1986 (his debut movie was Monster in the Closet). My first reaction was that he might get typecast as the “pretty boy” hero, and while subsequent Fast and Furious movies did little to dispel that idea, it was in some of his non-franchise work that you could see an actor able to give a lot more than might have been expected. The underrated The Death and Life of Bobby Z (2007) showed he had the kind of acting ability that would stand him in good stead as he grew older, while his supporting turn in Flags of Our Fathers (2006) proved that he could respond to and step up for a strong director (in this case, Clint Eastwood). Even in the testosterone-filled and entirely risible Takers (2010) he managed to stand out from a very impressive crowd.

Walker was a likeable actor, unfussy perhaps in his style and performances but always confident and rarely disappointing. It’s always difficult to envisage a young actor – I was surprised to learn he was recently forty, God did he have good genes! – when they’re older and what work they’ll be doing. But I think if Walker were still with us, he’d have matured into a fine character actor.

PW - P

1 – Pleasantville (1998)

2 – She’s All That (1999)

3 – The Fast and the Furious (2001)

4 – Joy Ride (2001)

5 – Running Scared (2006)

6 – Eight Below (2006)

7 – The Death and Life of Bobby Z (2007)

8 – The Lazarus Project (2008)

9 – Fast Five (2011)

10 – Hours (2013)

PW - H

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