(L to R) Vin Diesel, Director Louis Leterrier and Rita Moreno on the set of ‘Fast X.’
Preview:
Vin Diesel has announced the next ‘Fast & Furious’ movie.
‘Fast Forever’ will be with us in 2028.
Louis Leterrier will direct the movie.
Like a backfiring jalopy with engine trouble, there have been several frustrating false starts for the next –– and most likely final –– ‘Fast & Furious’ movie.
Despite multiple announcements (including more than one from star, producer and ‘Fast’ cheerleader Vin Diesel) about different dates, budget wrangling and schedule issues have given the potential franchise wrap-up flat tires along the way.
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Now, though, it appears that everyone is on the same page (or maybe dirt track?) as both Diesel and studio backers Universal have announced that the new movie, now called ‘Fast Forever’ will be with us in 2028.
Jason Momoa as Dante in ‘Fast X’, directed by Louis Leterrier.
The typically stunt-heavy final minutes of 2023’s ‘Fast X’ show Diesel’s Dom Toretto driving down the side of a dam and into the water below, as he and his son, Little Brian (Leo Abelo Perry), race to escape a trap set by the villainous Dante (Jason Momoa), who arms a series of bombs. Then the movie cuts to black.
Two credit scenes follow, teasing the returns of Dwayne Johnson’s Hobbs and Gal Gadot‘s Gisele.
Universal has confirmed that the movie will be screeching into cinemas on March 17, 2028.
(Clockwise, from left) Letty (Michelle Rodriguez), Han (Sung Kang), Ramsey (Nathalie Emmanuel), Dom (Vin Diesel), Little Brian (Leo Abelo Perry), Abuelita (Rita Moreno), Mia (Jordana Brewster), Tej (Chris ‘Ludacris’ Bridges, back to camera) and Roman (Tyrese Gibson, back to camera) in ‘Fast X,’ directed by Louis Leterrier.
(L to R) Writer/Director Francis Ford Coppola and Adam Driver as Cesar Catilina on the set of ‘Megalopolis’. Photo Credit: Phil Caruso.
‘Megalopolis’ is the first film from Oscar-winning director Francis Ford Coppola in thirteen years and a project he has been developing since 1977. The result is an exhilarating and complex motion picture that pushes the boundaries of cinema while exploring class and the fragility of societies.
Anchored by a fantastic ensemble of actors including Adam Driver, Giancarlo Esposito, Laurence Fishburne and Aubrey Plaza, Coppola experiments with story, visual effects and even live-theatrical components. However, this movie is not for everyone, and will have its fair share of critics due to its experimental nature and a somewhat confusing script. But if you ignore that, and just go for the wild cinematic ride Coppola has created, you will be in awe of the director’s latest masterpiece.
Story and Direction
Writer/Director Francis Ford Coppola on the set of ‘Megalopolis’. Photo Credit: Phil Laruso.
Combining the Catilinarian conspiracy with modern day New York, ‘Megalopolis’ is set in a decaying metropolis called New Rome. An Idealistic architect named Cesar Catilina (Adam Driver), who has the power to control space and time, seeks to demolish and rebuild the city into a sustainable utopia using a new material called “megalon”. Standing in his way is Franklyn Cicero (Giancarlo Esposito), the Mayor of New Rome who is committed to a regressive status quo.
Things get complicated for Cesar when he falls in love with Julia Cicero (Nathalie Emmanuel), the mayor’s daughter. Also, lurking in the shadows is Cesar’s cousin, Clodio (Shia LaBeouf), who along with his uncle Hamilton Crassus III (Jon Voight) and his new wife former TV journalist Wow Platinum (Aubrey Plaza), is plotting to destroy Cesar before he can build his new utopia.
Aubrey Plaza as Wow Platinum in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Dense and complex, Coppola’s screenplay explores class warfare and how easily societies can fail. Mixing Roman mythology with what at times feels like a Shakespearian script, (Driver even recites the “To be, or not to be” speech from ‘Hamlet’ at one point), the story at times can seem convoluted but if that bothers you, then I think you are missing the point of Coppola’s film. And knowing how much of the script and story was found on the set by the actors through improvisation, to focus on the screenplay’s shortcomings is again, to miss the point of the movie entirely.
Arguably one of the greatest filmmakers in the history of cinema after making ‘The Godfather’, ‘The Godfather II’, and ‘Apocalypse Now’, just to name a few, the true joy of ‘’Megalopolis’ is watching the master filmmaker experiment with the medium and create something unexpected and quite beautiful in its own way. Not only is Coppola experimenting with the themes of the movie, but he is also experimenting with filmmaking technologies he hasn’t used before like digital cameras, digital effects, and a fascinating live-theatrical stunt, unlike anything I’ve seen before in a movie theater, but more on that below.
Live Theatrical Experience
Grace Vanderwaal as Vesta Sweetwater in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
Towards the end of the second act, there is a moment when Driver’s Cesar is participating in a press conference. At that exact moment, the lights in the theater go on, and a person from the audience (obviously a plant) walks up to a microphone close to the screen. Then, in character, the “actor” asks the on-screen Cesar a question as if they are the reporter in the scene themselves. At least in my screening, the timing worked perfectly, and Cesar seemingly answered the member of the audience.
It’s obviously a constructed stunt, but I absolutely loved that Coppola decided to experiment in this way and it’s the moment when (faults and all) I really fell for this film. It’s a bold move, and one that I wish more filmmakers would take the risk to do. I’m not saying every movie should have a live component, but I would love to see more filmmakers play with the medium and experiment with techniques that are outside of the norm.
A Misunderstood Masterpiece?
Nathalie Emmanuel as Julia Cicero and Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
With the media seemingly wanting to see Coppola fail after rumors of production troubles, not to mention the experimental nature of the movie, reviews out of the film’s Cannes premiere have been mixed at best. But don’t listen to them, and don’t even listen to me, see the movie for yourself and make up your own mind! However, I would suggest seeing the film in IMAX, as it adds to Coppola’s vision and the overall experience of the movie.
While it’s unfair to compare ‘’Megalopolis’ to Coppola’s past work, it is important to remember (as the fake quotes in the film’s first trailer point out), films like ‘Apocalypse Now’, ‘Bram Stoker’s Dracula’ and yes, even ‘The Godfather’, received some mixed reviews upon release and of course have gone on to be considered cinematic classics. That may or may not eventually happen with ‘’Megalopolis’, but it is certainly a bold and intriguing movie, which is in stark contrast to the standard sequels and superhero films that litter our local cinema.
The Cast
Nathalie Emmanuel as Julia Cicero in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
While the true star of ‘’Megalopolis’ in my opinion is Francis Ford Coppola, he has assembled a remarkable cast of actors, young and old, and the film is certainly anchored by Adam Driver’s strong performance. Driver embodies the character with an intelligence and an aloofness that only the former Kylo Ren actor could supply.
Veteran actor Giancarlo Esposito has finally become a household name thanks to his vast television work on hit shows like ‘Breaking Bad’, ‘The Mandalorian’ and ‘The Boys’. This is Esposito’s first major role in a movie since his recent success, and while he once again plays the antagonist, the actor gives a very good performance.
Shia LaBeouf as Clodio Pulcher in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
While purposely over-the-top at times, Shia LaBeouf gives a commanding performance as the sinister Clodio, and Oscar-winner Jon Voight is at his best in years as Hamilton Crassus III. Also excellent in her role is Aubrey Plaza, perfectly cast as a Barbara Walters meets Megyn Kelly type journalist more concerned with moving up society’s later than reporting the truth. Other strong supporting performances come from Laurence Fishburne (the film’s narrator) and Grace VanderWaal as a Taylor Swift type entertainer.
However, coming off an excellent performance in director John Woo’s remake of ‘The Killer’ is Nathalie Emmanuel, who is adequate as Julia, but has a hard time overcoming the shadows of the other heavyweights in the cast. Talia Shire (Coppola’s sister), Jason Schwartzman (Shire’s son and Coppola’s nephew), ‘Saturday Night Live’s Chloe Fineman and Oscar-winner Dustin Hoffman are all welcomed additions to the cast, but unfortunately are not given enough to do.
Final Thoughts
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
In the end, you may like ‘Megalopolis’ or you may not, but it is worth seeing in a theater, if for nothing else to experience a once in a lifetime theatrical experience from one of the greatest directors of all time.
‘Megalopolis’ receives 9 out of 10 stars.
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What is the plot of ‘’Megalopolis’?
In a decaying metropolis called New Rome, Cesar Catilina (Adam Driver) is an idealist architect who is granted a license by the federal government to demolish and rebuild the city as a sustainable utopia using a new material, “megalon”, which can give him the power to control space and time. His nemesis, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo. Torn between them is Franklyn’s socialite daughter and Cesar’s love interest Julia (Nathalie Emmanuel), who, tired of the influence she inherited, searches for her life’s meaning.
Moviefone recently had the honor of speaking with legendary writer and director Francis Ford Coppola and Adam Driver about their work on ‘Megalopolis’, Coppola’s passion and dedication to get it made, the live theatrical aspect of the film, how he utilized new technology, Driver’s approach to his character, improvisation, and what he learned from working with Coppola.
You can read the full interview below or click on the video player above to watch our interview.
Writer/Director Francis Ford Coppola on the set of ‘Megalopolis’. Photo Credit: Phil Laruso.
Moviefone: To begin with, Mr. Coppola, can you talk about the spark of the idea for this film that excited you and what kept you passionate and determined over all these decades to finally get this movie made?
Francis Ford Coppola: When I started, I didn’t specifically start with this project. I just thought that since I had made so many films with different styles, I was curious what my style was. So, I just started to note down articles I read, or I had a collection I remember of political cartoons because cartoons tell a whole story in one image, and things I had read. After a while, I found that I was interested in the idea of doing a Roman epic because I had seen them as a kid, and I loved Roman epics. Then at one point, I read a particular Roman story about what was called the Catiline conspiracy. In that, it said that could happen in modern America because modern America has based itself on being Roman. That’s when it began to really take shape in this. Then I started to collect possibilities of what it might be like and how it might be done, and ultimately led to this incredible collaboration with my wonderful cast and with Adam and with the various people who supplied everything in the film, and we made ‘Megalopolis’ together.
(L to R) Writer/Director Francis Ford Coppola and Adam Driver as Cesar Catilina on the set of ‘Megalopolis’. Photo Credit: Phil Caruso.
MF: Adam, what was this experience like for you working with Mr. Coppola, and what did you learn about filmmaking from watching the specific way that he makes movies?
Adam Driver: I think there’s maybe a misconception or an assumption that people make about directors that are like Francis that the atmosphere when you get on set is going to be very dictatorial, that it’s going to be “Do what I tell you to do”, or at least that’s just what the feedback that I get from people is, “Do you just say everything that he tells you to do?” That’s not actually what it’s like at all. He’s very disarming, which I guess should be no surprise because his movies feel that way. They all feel like everyone is pretty invested in what they’re doing because he gives you an incredible amount of trust, which it could easily have been the opposite of, “Move here because I said so, and I have a resume of films that have changed filmmaking as evidence that I know what I’m talking about”. That would’ve been a very compelling argument, but it’s the exact opposite. He makes you part of it because you have some authorship of it, you get obsessed with it and excited, and are invested and want to bring ideas to the table. Because he has such a, this is the understatement of the century, but an incredible film vocabulary that he is very good at picking the things that are in line with what he’s trying to make in an incredibly diplomatic way and discarding the things that aren’t what he needs. So, the thing I took from it is also, it felt like experimental theater in a way, where you can’t make a mistake, and setting an environment for people to feel comfortable to do whatever they wanted within the parameters. It is an experience that I didn’t have in film before, and I don’t think I’ll have again. Trying to take that to other films will be difficult.
Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
MF: Mr. Coppola, there is a staged moment in the film where someone from the theater’s audience stands up and interacts with Adam’s character on-screen. Can you talk about the choice to include this unusual experimental theatrical experience and how you were able to execute it?
FFC: Well, it’s interesting because the film didn’t have that scene at all in it, and it was Adam who said to me, “Remember we shot a sequence where the people asked questions. I miss that. I wish that were back in.” I said, “Well, let’s go find it and put it back in and see what you think,” and we did. Then we put it in, and I agreed with him that it was missing, and it was better with it. It wasn’t in it. It was his idea and we put it in, and then the only thing that happened is I thought, “Well, wouldn’t it be interesting if a real person brought the microphone over and put it there?” We tried it and it seemed to be exciting. I’m a guy who in a way still has one foot in theater and one foot in cinema and I haven’t forgotten my theatrical training as a kid. I love to combine the two, and that’s where that came from. We only had it because of this idea about actors and directors, I’ve heard it said, “Oh, that director got this great performance out of the actor.” Directors don’t get great performances out of actors. The actor does the performance. The director’s like a coach. He’s there to be able to say something helpful, hopefully at the right time, when the actor is trying to achieve something, just like a coach in a sports team says, “Why don’t you try thinking this?” If it helps, great. But the actor does the hard part, let’s face it. The director is there to just say the right thing at the right moment if you are lucky enough to have the right thing to say.
(L to R) Adam Driver and Nathalie Emmanuel in ‘Megalopolis’. Photo: Lionsgate.
MF: Adam, I understand there was quite a bit of improvisation on the set. Can you talk about your approach to playing Cesar, and did the improv help you find the character on set?
AD: There’s the version and what we had talked about. Francis told me some inspirations, not directly, but like Walter Gropius was somebody that we talked about. Robert Moses was another person, just to kind of get a sense. But what Francis was saying, he’s being a little modest. I think sometimes people say that idea, which sounds romantic, and in practice, never practice it, or they reserve it for press. But Francis really acts on his principles and everything that he’s describing is very rare, I think, to get that experience as an actor and to get the freedom to kind of come up with an idea and surprise yourself, and hopefully Francis. But he still is the one that’s making that happen, so you wouldn’t get that movie obviously, if Francis wasn’t kind of conducting all these kinds of wild personalities. So, it all kind of was found by the other actors that I’m acting with, the props, how (Cinematographer) Mihai (Mălaimare Jr.) was shooting it with Francis and all Francis’ direction. He kind of set up the rules. The first day of shooting was something really and I remember at one point, Francis said, “We’re not being brave enough,” and that was like, “Oh, that’s probably the best piece of direction I’ve ever been given,” and that set the tone for the rest of the film.
Nathalie Emmanuel as Julia Cicero and Adam Driver as Cesar Catilina in ‘Megalopolis’. Photo Credit: Courtesy of Lionsgate.
MF: Finally, Mr. Coppola, obviously the tools used to make films has changed a lot since you began making movies with advances in digital cameras, visual effects, and editing software. Can you talk about how you were able to implement those new tools into your style of filmmaking?
FFC: Well, I think Orson Wells once said that a lot of those aspects of movies, you can learn in a weekend. But fundamentally, the two main components of cinema are acting and writing. That’s not something you can learn over the weekend. I mean, you can’t have a great movie without wonderful acting. You need some kind of good writing. Everything else is you can take great liberties with and choose to use or not to use. Just because there’s some new development that is possibly revolutionary doesn’t mean you have to use it or must use it in the way they’re using it. We did use a technique that falls in that category, what’s known as the volume. It’s when they have this huge space and it’s a huge LED screen. But we used it a different way. We put the scene that we shot very high, and so if they’re walking along up there and fall, they’re going to fall 15 feet into a net, and so that the actors would be a little trepidatious about walking around too casually up there. He (Adam) wasn’t afraid of it, but Natalie (Emmanuel) was. When she walked, you could feel she didn’t want to fall. So, I mean, as I said, you can use things, but you don’t have to use them in the way that they were invented for.
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What is the plot of ‘’Megalopolis’?
In a decaying metropolis called New Rome, Cesar Catilina (Adam Driver) is an idealist architect who is granted a license by the federal government to demolish and rebuild the city as a sustainable utopia using a new material, “megalon”, which can give him the power to control space and time. His nemesis, Mayor Franklyn Cicero (Giancarlo Esposito), remains committed to a regressive status quo. Torn between them is Franklyn’s socialite daughter and Cesar’s love interest Julia (Nathalie Emmanuel), who, tired of the influence she inherited, searches for her life’s meaning.
(L to R) Ben Affleck and Uma Thurman in ‘Paycheck’. Photo: Paramount Pictures.
Michael Jennings (Ben Affleck) is a genius who’s hired – and paid handsomely – by high-tech firms to work on highly sensitive projects, after which his short-term memory is erased so he’s incapable of breaching security. But at the end of a three-year job, he’s told he isn’t getting a paycheck and instead receives a mysterious envelope. In it are clues he must piece together to find out why he wasn’t paid – and why he’s now in hot water.
1975’s ‘The Dragon Tamers’. Photo: Golden Harvest Company.
Carter Wong plays a young chinese martial arts student who travels to Korea to learn Taekwondo Soon he comes up against a vicious gang who want all the local martial arts schools to join their evil association. But before he can defeat the bad guys he has to learn to master his own strong desire to fight.
(L to R) Adam Beach and Nicolas Cage in ‘Windtalkers’. Photo: MGM.
Joe Enders (Nicolas Cage) is a gung-ho Marine assigned to protect a “windtalker” – one of several Navajo Indians who were used to relay messages during World War II because their spoken language was indecipherable to Japanese code breakers.
Joel Kinnaman as Godlock in ‘Silent Night’. Photo Credit: Carlos Latapi.
From legendary director John Woo and the producer of ‘John Wick‘ comes this gritty revenge tale of a tormented father (Joel Kinnaman) who witnesses his young son die when caught in a gang’s crossfire on Christmas Eve. While recovering from a wound that costs him his voice, he makes vengeance his life’s mission and embarks on a punishing training regimen in order to avenge his son’s death. Full of Woo’s signature style, ‘Silent Night’ redefines the action genre with visceral, thrill-a-minute storytelling.
1986’s ‘Heroes Shed No Tears’. Photo: Golden Harvest.
The Thai government hires a group of Chinese mercenaries to capture a powerful drug lord from the Golden Triangle. The mercenaries manage to capture the drug lord, but soon find themselves pursued by his forces, and the forces of a bitter Thai officer. The Chinese mercenaries are vastly outnumbered, and as their numbers begin to dwindle, their desperation pulls them into a corner as their enemies close in on them.
The battle of Red Cliff continues and the alliance between Xu and East Wu is fracturing. With Cao Cao’s (Zhang Feng Yi) massive forces on their doorstep, will the kingdoms of Xu and East Wu survive?
In 208 A.D., in the final days of the Han Dynasty, shrewd Prime Minster Cao (Zhang Feng Yi) convinced the fickle Emperor Han the only way to unite all of China was to declare war on the kingdoms of Xu in the west and East Wu in the south. Thus began a military campaign of unprecedented scale. Left with no other hope for survival, the kingdoms of Xu and East Wu formed an unlikely alliance.
Jean-Claude Van Damme in ‘Hard Target’. Photo: Universal Pictures.
When a woman’s father goes missing, she (Yancy Butler) enlists a local (Jean-Claude Van Damme) to aid in her search. The pair soon discover that her father has died at the hands of a wealthy sportsman (Lance Henriksen) who hunts homeless men as a form of recreation.
1990’s ‘Bullet in the Head’. Photo: Golden Princess Film Production.
Three childhood friends from the slums of Hong Kong flee to war-time Saigon after accidentally murdering a gang leader, but their troubles only escalate.
Tom Cruise in ‘Mission: Impossible II’. Photo: Paramount Pictures.
With computer genius Luther Stickell (Ving Rhames) at his side and a beautiful thief (Thandiwe Newton) on his mind, agent Ethan Hunt (Tom Cruise) races across Australia and Spain to stop a former IMF agent (Dougray Scott) from unleashing a genetically engineered biological weapon called Chimera. This mission, should Hunt choose to accept it, plunges him into the center of an international crisis of terrifying magnitude.
(L to R) Omar Sy and Nathalie Emmanuel in ‘The Killer’, directed by John Woo. Photo: Peacock.
From the Oscar winning producer of ‘Oppenheimer‘, the kinetic action thriller stars Emmy nominee Nathalie Emmanuel as Zee, a mysterious and infamous assassin known, and feared, in the Parisian underworld as the Queen of the Dead.
(L to R) John Travolta and Christian Slater in ‘Broken Arrow’. Photo: 20th Century Fox.
When rogue stealth-fighter pilot Vic Deakins (John Travolta) deliberately drops off the radar while on maneuvers, the Air Force ends up with two stolen nuclear warheads — and Deakins’s co-pilot, Riley Hale (Christian Slater), is the military’s only hope for getting them back. Traversing the deserted canyons of Utah, Hale teams with park ranger Terry Carmichael (Samantha Mathis) to put Deakins back in his box.
(Right) Chow Yun-fat in 1989’s ‘The Killer’. Photo: Golden Princess Film Production.
Mob assassin Jeffrey (Chow Yun-fat) is no ordinary hired gun; the best in his business, he views his chosen profession as a calling rather than simply a job. So, when beautiful nightclub chanteuse Jennie (Sally Yeh) is blinded in the crossfire of his most recent hit, Jeffrey chooses to retire after one last job to pay for his unintended victim’s sight-restoring operation. But when Jeffrey is double-crossed, he reluctantly joins forces with a rogue policeman (Danny Lee Sau-Yin) to make things right.
Chow Yun-fat in ‘Hard Boiled’. Photo: Golden Princess Film Production.
A cop (Chow Yun-fat) who loses his partner in a shoot-out with gun smugglers goes on a mission to catch them. In order to get closer to the leaders of the ring he joins forces with an undercover cop (Tony Leung Chiu-wai) who’s working as a gangster hitman. They use all means of excessive force to find them.
(L to R) Nicolas Cage and John Travolta in ‘Face/Off’. Photo: Paramount Pictures.
In order to foil a terrorist plot, an FBI agent (John Travolta) undergoes facial transplant surgery and assumes the identity of a criminal mastermind (Nicolas Cage). The plan turns sour when the criminal wakes up prematurely and seeks revenge.
Premiering on Peacock August 23rd is ‘The Killer’, which is a remake of the classic 1989 action movie of the same name helmed by the original’s director, legendary filmmaker John Woo (‘Face/Off’ and ‘Silent Night’).
(L to R) Omar Sy and Nathalie Emmanuel star in ‘The Killer’, directed by John Woo.
Moviefone recently had the pleasure of speaking with actors Nathalie Emmanuel and Omar Sy about their work on ‘The Killer’, appearing in a remake directed by the original’s director, working with John Woo, the amazing action sequences, Zee’s motivations, and their characters’ complicated relationship with each other.
You can read the full interview below or click on the video player above to watch the interview.
(L to R) Nathalie Emmanuel, Omar Sy and director John Woo on the set of ‘The Killer’. Photo: Peacock.
Moviefone: To begin with, Nathalie, what is it like starring in a remake of a classic John Woo movie, that is directed by John Woo himself?
Nathalie Emmanuel: It’s great, it was what dreams are made of. That’s how I feel. I think when you have a remake of something that’s so iconic as ‘The Killer’, to have it be remade or reimagined, if you will, with the man himself, it’s the most exciting prospect for a re-imagining or a remake of something. I just felt incredibly excited. I just trusted John and his vision and what he wanted, and it gave me a lot of confidence to just step into it and it was just wonderful.
Director John Woo on the set of ‘The Killer’. Photo: Peacock.
MF: Omar, what was your first reaction to the screenplay and the opportunity to work with John Woo?
Omar Sy: The reaction is difficult to describe. It was like beyond a dream of something that you cannot dare to imagine, and it was happening. Just being in a John Woo movie but being in the classic ‘The Killer’ that I used to watch as a teenager so many times was amazing. The third thing was that it happens in Paris, my hometown. So that was just beyond everything. I had all my friend coming to set and saying, “You’re in a John Woo movie,” and then you can just witness that. It was amazing to do that, and then Paris was an amazing set, and the way John loves Paris was something interesting too. We had a lot of fun, but the reaction to today is just unbelievable what happened.
Nathalie Emmanuel in ‘The Killer’, directed by John Woo. Photo: Peacock.
MF: The action sequences are beautifully shot, and the choreography looks almost like a dance. Nathalie, can you talk about learning the stunt choreography and being directed by John Woo in the action sequences?
NE: I think you characterize it perfectly. It’s like doing a dance, not just within the choreography, but with the camera itself and the way that John shoots it. It’s almost like you’re waltzing with the camera at times, and it can be very specific and technical, but there’s also space for some spontaneity and playfulness as well. I feel like the process of learning choreography was so fulfilling and so wonderful, and the stunt team just really poured into me and really wanted to know how I felt about the way that Zee fights or how she kills or how she does her job. There were things that I brought to them, and they were really embracing of it, and John is also very involved in that too. Just having that pool of unbelievable talent and then the nurture involved, it was just wonderful. I honestly just felt proud of it and very proud of the things that I achieved, and it would just never have happened without that huge team of people.
Omar Sy as Sey in ‘The Killer’, directed by John Woo. Photo: Peacock.
MF: Omar, can you talk about the training and preparation you did for the action sequences?
OS: Same, that we had to be physically prepared to handle the whole shoot and the fight choreography, also the gun handling and all of that. So, we had few weeks before shooting and while we were shooting, we also had to do more training and to go into the precise choreography and all of that was very interesting. It was a lot of work, but very interesting because the process was different. This time, we had a lot of space to add something for our characters, that each move was a line, it’s a response to something with our characters. It was the first time for me to approach choreography and fight scenes like that. So, it was very interesting for me. It changed my way of seeing all those action moves.
(L to R) Nathalie Emmanuel and Diana Silvers in ‘The Killer’, directed by John Woo. Photo: Peacock.
MF: Natalie, can you talk about your character’s motivations, her unlikely alliance with Sey and why she decides to protect Jenn?
NE: Well, I think she’s got a very clear way of doing things, and she’s lived this life of solitude. She does her thing, she lives her life in a very particular, almost regimented way, but she’s somebody who is faced with this situation and her code and how she has a clear code of conduct. She will do the best thing to get the job done, and it becomes very clear that Sey is someone who she can collaborate with because he gets it. It’s that like recognizes like. At first, she’s like, “You are the enemy.” It becomes very clear that she’s like, “Oh, okay, I see something in you that I understand,” and I think the reason why she goes against Finn, played by Sam Worthington, and saves Jennifer or Jenn is because she believes in justice. She believes in the right thing. She’s like, “No civilians, innocent lives are not what I’m here to do,” but it throws up a lot of conflict for her. Therefore, it throws up a lot of questions about her whole life and the way she lives it, and that’s what happens for Zee throughout the movie.
(L to R) Omar Sy and Nathalie Emmanuel in ‘The Killer’, directed by John Woo. Photo: Peacock.
MF: Finally, Omar, can you talk about why Sey is fascinated by Zee and the cat and mouse game that they play throughout the movie?
OS: It was very interesting for me to play that because he’s a very instinctive guy and there is something that he recognizes that he feels about this assassin, Zee. She’s supposed to be the enemy, but because he recognized something, that same code and the same sense of fairness and justice, that’s how they will be on the same side very soon. He can recognize and feel that, and I like that it’s very sudden, it’s immediate, but it’s like a feeling, and the way to process takes the whole movie for him to understand why. But the feeling is magic, and then the fact that he can process and intellectualize that, it takes the whole movie almost. I like those that sometimes the heart goes before your brain, and I like that in the movie because it shows how romantic John is. It’s like the heart is always stronger than the brain, and I like that aspect of the movie.
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What is the plot of ‘The Killers’?
From the Oscar winning producer of ‘Oppenheimer‘, the kinetic action thriller stars Emmy-nominee Nathalie Emmanuel as Zee, a mysterious and infamous assassin known, and feared, in the Parisian underworld as the “Queen of the Dead”.
Francis Ford Coppola’s ‘Megalopolis’ is scheduled for release on September 27, 2024.
Preview:
Francis Ford Coppola has made a deal with Lionsgate to release ‘Megalopolis’.
The filmmaker’s passion project stars Adam Driver, Giancarlo Esposito and Nathalie Emmanuel.
Coppola poured millions of his own money into making the movie.
Given how much time and money Francis Ford Coppola had poured into making his latest passion project, the epic known as ‘Megalopolis’, things were looking a little grim.
Coppola, the man behind movies such as ‘The Godfather’ trilogy and ‘Apocalypse Now’ had been looking to bring ‘Megalopolis’ to life for years but hadn’t found anyone to invest fully.
So the filmmaker went ahead and sold a chunk of his vineyard business to drum up the cash himself, tracking down a cast and getting under way.
Then came reports of trouble on set, with effects issues and even accusations of inappropriate behavior by the director (an issue which has yet to be settled either way).
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Finally, Coppola finished the film and screened it for potential distributors in Los Angeles, to reportedly zero interest. He scored a slot at Cannes and that has sparked wildly divisive reviews, many calling out its gonzo storytelling and performances.
Yet after the festival screening, there has been a big turnaround in the movie’s fortunes, Coppola securing a raft of international distribution deals across the world.
And today brings word that Lionsgate has scored a deal to distribute the movie here in the States, and to handle its home entertainment release.
What’s the story of ‘Megalopolis’?
(L to R) Adam Driver and Nathalie Emmanuel in ‘Megalopolis’. Photo: Lionsgate.
The fate of Rome haunts a modern world (and a city that’s essentially an alternate New York) unable to solve its own social problems in this epic story of political ambition, genius, and conflicting interests.
‘Megalopolis’ essential clash is between Cesar (Adam Driver), a genius artist who seeks to leap into a utopian, idealistic future, and his opposition, Mayor Franklyn Cicero (Giancarlo Esposito), who remains committed to a regressive status quo, perpetuating greed, special interests, and partisan warfare.
Caught between the two? Franklyn’s socialite daughter and Cesar’s love interest, Julia (Nathalie Emmanuel), who, tired of the influence she inherited, searches for her life’s meaning.
Who else is in ‘Megalopolis’?
Jon Voight as Byrne in ‘The Painter.’ Photo: Republic Pictures.
Director Frances Ford Coppola at the 50th Anniversary of ‘The Godfather’ event and historic street naming ceremony the Paramount Theater in Hollywood, CA on February 22nd, 2022. Photo by Frazer Harrison/Getty Images for Paramount Pictures.
Here’s the statement the director released about the new deal:
“One rule of business I’ve always followed and prioritized (to my benefit) is to continue working with companies and teams who over time have proven to be good friends as well as great collaborators. This is why I am thrilled to have Adam Fogelson and Lionsgate Studios release ‘Megalopolis’. I am confident they will apply the same tender love and care given to ‘Apocalypse Now’, which is currently in its 45th year of astounding revenue and appreciation.”
And here’s Lionsgate boss Adam Fogelson’s comment:
“Francis is a legend. For many of us, his gifts to cinema were one of the inspirations to devote our own careers to film. It is a true privilege to work with him, and to bring this incredible, audacious, and utterly unique movie to theatrical audiences. At Lionsgate, we strive to be a home for bold and daring artists, and ‘Megalopolis’ proves there is no one more bold or daring than the maestro, Francis Ford Coppola.”
When will ‘Megalopolis’ be in a theater near me?
Lionsgate has set a September 27th release date for the movie.
Al Pacino, Francis Ford Coppola and Robert De Niro onstage during the 50th anniversary tribute of “The Godfather” at the live ABC telecast of the 94th Oscars® at the Dolby Theatre at Ovation Hollywood in Los Angeles, CA, on Sunday, March 27, 2022.
(L to R) Simu Liu as Leo, Nathalie Emmanuel as Olivia, Mark Wahlberg as Michael and Ali Suliman as Chik in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
In theaters on Friday, March 15th, ‘Arthur the King’ is the latest movie to be based on a true-life tale that throws all you might expect in about endurance, endeavor, sportsmanship and the love of animals, but slips into a few too many easy plot and emotional pitfalls.
Burdened with the fact that you’ll surely know the outcome even if you don’t the original story, the movie doesn’t offer up enough that feels fresh for the journey –– beyond the sweet lead dog, of course.
(L to R) Ali Suliman as Chik and Mark Wahlberg as Michael in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
As ‘Shakespeare in Love’ reminded us, audiences love a bit with a dog. And ‘Arthur the King’ certainly has lots of heart-tugging bits with a dog. So if you can’t resist a true story that includes charming canine action, then the movie delivers.
The problem lies in the other areas –– though the story of Mikael Lindnord (Mark Wahlberg’s character is renamed to Michael Light) boasts plenty of challenge and struggle, the movie never quite finds a way to make you care about the man the way it does about the dog (and the canine companion doesn’t enter the picture until much later than you expect, despite his own brief initial storyline), meaning you might feel like you were sold a bill of goods, slogging your way through some very predictable team building and early race stages before you get to Arthur.
Script and Direction
Mark Wahlberg as Michael in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
Written by Michael Brandt (‘Wanted’, ‘3:10 to Yuma’ ‘2 Fast 2 Furious’) based on Mikael Lindnord’s story, the movie, despite an already impressive narrative, feels the need to layer on plenty of Hollywood schmaltz. There’s the sweet, understanding wife (herself a racer, though retired) and daughter who track our hero’s progress from the home front. The arrogant former teammate who returns to help and whose social media/status obsession is both a hindrance and a help. An older colleague whose health issues slow the team, and a character whose ailing father encourages her to join the team despite her desire to stay behind and care for him.
When you have a predictable story, you need layers, but the ones that the movie chooses simply make it seem that much more cliched. And in keeping with a Hollywood-ized version of a true story that aims to leave you feeling happy and not conflicted, it naturally sands off some of the thornier elements, such as the controversy around Arthur being adopted and brought back to the States, whereupon a family claimed that Lindnord had effectively dognapped their pet (it all worked out for the best).
And the direction of Simon Cellan Jones, who worked with Wahlberg on Apple TV+’s recent movie ‘The Family Plan’, doesn’t really do much to help matters. Though he has some beautiful jungle backdrops for his characters, and a built-in story to cheer for, the overloads the movie with unearned sentiment and moments that will come across as less than authentic and far from original.
Even with the racing elements, the movie seems to wander more than it zips along (even with an actual zipline as part of the plot), and when the score goes into “inspirational overload” it’s more likely to make you sigh than cheer.
Still, there’s enough pleasure to be found, especially in the charming doggie moments and the interesting real-life racing elements –– adventure specialist Bear Grylls helps you keep track of what’s happening, offering the benefit of his experience, even if it does sometimes come across as watching a Twitch feed of someone playing a video game more than news coverage.
Performances
(L to R) Nathalie Emmanuel as Olivia, Mark Wahlberg as Michael, Ali Suliman as Chik and Simu Liu as Leo in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
Wahlberg is largely on autopilot here –– as the adventure racer, he’s pretty much exactly what you expect from the actor, with little room for nuance. But his low-key charisma works for an endurance athlete, and he at least looks the part. That said, you’re never really in doubt that he’s going to succeed (on the dog adoption front, if nothing else).
As Leo, Simu Liu manages to walk the tricky tightrope of seeming smug without being unlikable. The Instagram-happy character is a solid addition to the team, and Liu juggles his initial cynicism and later bond with Arthur effectively.
Ali Suliman plays Chik, an old friend of Michaels, and a savvy navigator with seven world championships under his belt. But now, suffering with old injuries, he’s not sure he wants to jump back into the racing world. You can guess what actually happens just by reading this character summary, but Suliman at least brings real personality to role and plays well off of Wahlberg.
Nathalie Emmanuel is somewhat lumbered with the role of Olivia, the daughter of an ailing climbing legend. There’s not much to chew on here for the actor, who nevertheless does what she can. But at times she’s reduced to being someone Wahlberg has to rescue or simply fading into the background.
And the less said about wife Helen (Juliet Rylance) and daughter Ruby (Cece Valentina), who could be cardboard cut-outs for all the actual character they have. Both actors are fine, but they’re such nothingburger roles you feel for them.
Final Thoughts
(L to R) Simu Liu as Leo and Mark Wahlberg as Michael in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
While it mostly has to rely on its canine star rather than its humans for its pleasures, ‘Arthur the King’ does have some lush backdrops and an interesting world in the adventure racing sphere.
It’s just a shame that it falls down every single cliché cliff possible at the same time.
‘Arthur the King’ receives 6 out of 10 stars.
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What is the Plot of ‘Arthur the King’?
Over the course of ten days and 435 miles, an unbreakable bond is forged between pro adventure racer Michael Light (Mark Wahlberg) and a scrappy street dog companion dubbed Arthur. Based on an incredible true story, ‘Arthur the King’ follows Light, desperate for one last chance to win, as he convinces a sponsor to back him and a team of athletes (Simu Liu, Nathalie Emmanuel, and Ali Suliman) for the Adventure Racing World Championship in the Dominican Republic. As the team is pushed to their outer limits of endurance in the race, Arthur redefines what victory, loyalty and friendship truly mean.
Moviefone recently had the pleasure of sitting down in-person with Mark Wahlberg to talk about his work on ‘Arthur the King,’ what audiences can expect, the true story it is based on, physically preparing to play an adventure racer, bonding with his canine co-star on set, and his love for his own dogs.
You can read the full interview below or click on the video player above to watch our interviews with Wahlberg, Simu Liu, Nathalie Emmanuel, Ali Suliman, director Simon Cellan Jones, and real-life subject Michael Brandt.
Mark Wahlberg as Michael in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
Moviefone: To begin with, what would you say to audiences sitting down to watch this movie to prepare them for the theatrical experience they are about to have?
Mark Wahlberg: You’re going to laugh, you’re going to cry, you’re going to cheer, and then you’re going to go out and adopt a dog. That’s just what’s going to happen. But no, it’s so exciting for this movie, especially, to be in theaters. I went to a screening yesterday in a theater that I used to visit three or four times with my kids and my wife, and I would go once or twice on my own, and we always just took away that experience of sitting there laughing, crying and enjoying films with others and strangers. So, to see that happening again and giving people so much hope and so much joy, it’s nice.
(L to R) Mark Wahlberg as Michael and Simu Liu as Leo in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
MF: Can you talk about how Arthur changes Michael’s life through the course of this film, and have you ever had an experience with a dog that really changed your life?
MW: Look, my dogs, we just finally potty-trained the four of them, so that’s changed my life quite a bit because I can just feel comfortable walking barefoot to the kitchen in the morning without turning the lights on and waking somebody else up by turning the lights on in the hallway. But it was remarkable to me because Michael was so obsessed with the idea of winning. He was obsessed with proving that he was good enough to become a world champion, and he was so close. Everything that he had done up until that point was very selfish. I mean, let’s not try to water that down. Athletes must be self-absorbed and self-obsessed to be able to go out there and give that kind of time, attention and dedication to something, especially adventure racing. So, to see him make that drastic a decision and something that’s so selfless and will alter the rest of his life in the way that it does… but everything happens for a reason, and I know he wouldn’t change it for anything.
(L to R) Simu Liu as Leo and Mark Wahlberg as Michael in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
MF: Did you bond with the dog playing Arthur immediately and what was it like working with him?
MW: We were neighbors, and we had to spend quite a bit of time together because we were going to be together for most of the time. I would immediately start feeding him things he wasn’t supposed to eat, or the trainer wouldn’t normally allow, and just getting to spend that time. But I’d never, ever imagined that he would be so engaged and so connected to me on an intimate and emotional level. It was incredible.
(L to R) Ali Suliman as Chik and Mark Wahlberg as Michael in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
MF: Finally, can you talk about the challenges of physically preparing to play an adventure racer and what was it like for you to have a glimpse into their world?
MW: The thing that prepared me the most was doing ‘Lone Survivor’ because for something like adventure racing, it takes a different person. They just have a different makeup. It’s all about suffering. It’s about being able to endure mentally and physically. The level of suffering that they go through and the things that they put themselves through, you must be a special individual to be able to do that. So, I think tearing my meniscus on the first day of shooting put me in the head space that I needed to be. I certainly felt that pain every day, whether I was walking back to the set after. I mean, you felt it every day, but you also felt that you’re onto something and doing something special, and you don’t get that kind of fulfillment and that energy that you can’t wait to get back there the next day and continue that on a lot of films. So, it is something that happens rarely, it’s a rare thing.
tEfOuKRjOVPhCGgUBixtE3
What is the Plot of ‘Arthur the King’?
Over the course of ten days and 435 miles, an unbreakable bond is forged between pro adventure racer Michael Light (Mark Wahlberg) and a scrappy street dog companion dubbed Arthur. Based on an incredible true story, ‘Arthur the King’ follows Light, desperate for one last chance to win, as he convinces a sponsor to back him and a team of athletes (Simu Liu, Nathalie Emmanuel, and Ali Suliman) for the Adventure Racing World Championship in the Dominican Republic. As the team is pushed to their outer limits of endurance in the race, Arthur redefines what victory, loyalty and friendship truly mean.
(L to R) Simu Liu as Leo, Nathalie Emmanuel as Olivia, Mark Wahlberg as Michael and Ali Suliman as Chik in ‘Arthur The King.’ Photo Credit: Carlos Rodriguez.
Vin Diesel as Dom in ‘Fast X,’ directed by Louis Leterrier.
The past always has a way of catching up with Dominic Toretto and his gang. This time, someone from Dom’s past shows up in the most unexpected way, putting everyone in danger, including Dom’s son – Little B.
“Over many missions and against impossible odds, Dom Toretto and his family have outsmarted and outdriven every foe in their path. Now, they must confront the most lethal opponent they’ve ever faced. Fueled by revenge, a terrifying threat emerges from the shadows of the past to shatter Dom’s world and destroy everything — and everyone — he loves.”
‘Fast X’ premiered in Rome on May 12, 2023. It opened in theaters domestically on May 19th. The film opened to $67 million and has grossed over $676.9 million worldwide since its release.
The Past Continues To Haunt Dominic Toretto
(L to R) Vin Diesel and Daniela Melchior in ‘Fast X,’ directed by Louis Leterrier.
Trouble always seems to find its way to Dominic Toretto’s doorstep, much like when ‘Fate of the Furious’ villain Cypher (Charlize Theron) shows up at Dom’s home badly injured. She tells Dom of a new threat named Dante, who turns out to be the son of drug lord Herman Reyes. Reyes (Joaquim de Almeida) appeared in ‘Fast Five’ and met his end after chasing Dom’s team for the vault.
Played by Jason Momoa, Dante seeks revenge for his father’s death and will stop at nothing to hurt Dom – including kidnapping his son Brian. Dante may be the franchise’s most interesting and formidable villain so far – outsmarting Dom in ways we’ve never seen before. Fashionable, unhinged, and outright entertaining to watch, Dante steals every scene he is in.
New Players Entering ‘The Fast & Furious’ Franchise
(Right) Brie Larson is Tess in ‘Fast X,’ directed by Louis Leterrier.
Joining the Fast family are Brie Larson (‘Captain Marvel’), Alan Ritchson (‘Dark Web: Cicada 3301’), and Daniela Melchior (‘The Suicide Squad’). Brie Larson portrays Tess, who is revealed to be the daughter of Mr. Nobody (Kurt Russell). She is helping Dom and his team in their fight against Dante Reyes. Alan Ritchson plays Aimes, the new head of The Agency. Daniela Melchior plays Isabel, a Brazilian street racer who is connected to someone from Dom’s past.
There is more than meets the eye with these new characters, so you should check out the movie to find out exactly who they are and if they’re on Team Dom or plotting against them.
Where Can I Watch ‘Fast X’?
Jason Momoa as Dante in ‘Fast X’, directed by Louis Leterrier.
The film was released theatrically in the United States on May 19th, 2023, and its follow-up is already announced to be released on April 4th, 2025. While the movie is already available on VOD, you can still catch the high-octane action in theaters. ‘Fast X’ is available in IMAX, Dolby Atmos, 3D, and 4DX format, so be sure to check with Moviefone below for showtimes in your area. ‘Fast X’ has a total runtime of 2 hours and 21 minutes, making it the second-longest movie in the franchise.
You now have the option to rent or purchase ‘Fast X’ on VOD for $19.99 or $24.99, respectively. The movie is available on platforms such as Amazon Prime Video, Direct TV, Google Play, Vudu, Microsoft, YouTube, AppleTV, and Redbox.
As the movie is distributed by Universal Pictures, Peacock subscribers (in both Premium and Premium Plus tiers) will be able to stream ‘Fast X’ once available – likely to be in late August or early September though no official date has been announced by the studio.
No official date has been announced for the DVD/Blu-Ray release of the film, though pre-orders are already available from stores such as Amazon, Target, Walmart, and Best Buy.
(Clockwise, from left) Letty (Michelle Rodriguez), Han (Sung Kang), Ramsey (Nathalie Emmanuel), Dom (Vin Diesel), Little Brian (Leo Abelo Perry), Abuelita (Rita Moreno), Mia (Jordana Brewster), Tej (Chris ‘Ludacris’ Bridges, back to camera) and Roman (Tyrese Gibson, back to camera) in ‘Fast X,’ directed by Louis Leterrier.
(Clockwise, from left) Letty (Michelle Rodriguez), Han (Sung Kang), Ramsey (Nathalie Emmanuel), Dom (Vin Diesel), Little Brian (Leo Abelo Perry), Abuelita (Rita Moreno), Mia (Jordana Brewster), Tej (Chris ‘Ludacris’ Bridges, back to camera) and Roman (Tyrese Gibson, back to camera) in ‘Fast X,’ directed by Louis Leterrier.
‘Fast X’ opening in theaters on May 19th, is the latest entry in the sprawling, wildly successful franchise that begun in much more humble fashion as a take on ‘Point Break’s undercover lawman genre in 2001 and his since spiraled into a bombastic action franchise revolving around the endlessly repeated theme of family.
After a muted, disappointing entry with ‘F9: The Fast Saga’ in 2021 (which nevertheless did good business), it’s a relief to report that fans of the franchise, led by star/producer Vin Diesel, is a return to the ridiculous, stunt-heavy, common sense-free form that we’ve come know and appreciate.
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What’s the story of ‘Fast X?
Dominic Toretto (Diesel) is back living in the family home in Los Angeles with wife Letty (Michelle Rodriguez) and son Brian (Leo Abelo Perry). It’s a relatively quiet time for Dom and his gang, punctuated by family barbecues, driving lessons for Brian and a visit from his Abuela (Rita Moreno).
But Dom’s peace is ruined when old enemy Cipher (Charlize Theron) shows up badly injured at his door one night, spinning a story of a new threat called Dante (Jason Momoa). He, it turns out, is the son of Hernan Reyes (Joaquim de Almeida), the drug kingpin that Dom and his team robbed and killed 10 years ago in Rio (as chronicled in the events of ‘Fast Five’ in 2011).
(From left) Ramsey (Nathalie Emmanuel) and Han (Sung Kang) in ‘Fast X,’ directed by Louis Leterrier.
Soon, the flamboyant, crazed Dante is setting traps for our heroes, including luring Roman (Tyrese Gibson), Tej (Ludacris), Ramsey (Nathalie Emmanuel) and Han (Sung Kang) on a fake mission to Rome where they and others, including spy agency member Little Nobody (Scott Eastwood) must stop a giant, rolling bomb from destroying parts of Rome and the Vatican.
But when they’re all framed for the attack, the “family” is scattered to various parts of the world as Dante schemes and undermines them, stealing all their money and threatening their own family members.
Soon Dom is locked in a frantic battle with Dante, forced to rely on everyone he loves, even as they’re put in mortal danger. Can he succeed against this powerful villain?
(Right) Brie Larson is Tess in ‘Fast X,’ directed by Louis Leterrier.
To put it bluntly, there are two main advantages to the new ‘Fast’ movie, and the biggest is easily Jason Momoa. Clearly understanding that he A) needs to bring some fun and B) have some fun in the role of the big bad, he’s the most entertaining villain, and possibly the most entertaining character, the franchise has had for a long time.
Extravagantly dressed, free of macho impulses and always ready with a quip, he’s a giant breath of fresh air that nevertheless also feels like a real challenge to Dom and co. Even his mantra of, “Never accept death when suffering is owed,” inherited from his late father (who is glimpsed in an opening blend of footage from ‘Fast Five’ and newly created shots) helps to justify why Dom and company usually tend to escape from their adventures all but unscathed. You might still find yourself shouting, “why don’t you just kill [insert name here]??” at various points, but that’s all part of the fun of the franchise.
And let’s be honest: people “die” in this movie series and have returned before (Han in particular). It’s rarely the end it might be elsewhere.
(From left) Little Brian (Leo Abelo Perry, back to camera) and Jakob (John Cena) in ‘Fast X,’ directed Louis Leterrier.
While there were real concerns after ‘F9’ felt like a tired retread of the usual tropes, a sign the movies are running out of gas, ‘Fast X’ actually comes across as a second wind, embracing the set piece silliness and leaning into the entertainment value. Aside from Momoa, it also succeeds by letting Cena embrace his more humorous side since switching sides from being the vengeful villain in the previous entry.
An early briefing for a new character lets the franchise poke proper fun at itself, nodding towards the physics-defying action and globe-trotting story. It’s a canny way to catch up anyone who has decided to make this their first ‘Fast’ movie (though it’s hard to imagine anyone rocking up to these films without having seen at least one other).
Plus, new director Louis Leterrier (who replaced veteran Justin Lin after the latter quit one week into production) is something of a revelation, bringing a combo of his ease with the sort of high-concept action where he started his career (such as ‘The Transporter’) and finding the emotional core these films need to work.
(L to R) Vin Diesel and Director Louis Leterrier on the set of ‘Fast X.’
What are the problems of the movie?
For all its advantages, there are also the usually clunky elements, this entry still boasting scenes that make it seem as though a straight-to-DVD B-movie broke out in the middle of a summer blockbuster.
Actors who have won Oscars struggle with dialogue that would trip any actor up, whole moments sounding like they were written by feeding to suggestions to a ChatGPT AI that was then dropped on its hard drive, so leaden and first base are the results. It’s especially glaring for any scenes set in the mysterious “agency” spy division currently run by Ritchson’s Aimes. The man who is Jack Reacher on TV doesn’t break free of the dodgy lines he’s handed. And even Larson can’t make Tess work beyond some basic motivations.
And Diesel, despite being the core of the film, remains the one who treats it all so completely seriously that it’s actually less fun when he’s growling and putting the pedal to the metal.
(From left) Queen (Helen Mirren) and Dom (Vin Diesel) in ‘Fast X,’ directed by Louis Leterrier.
Even as the movie acknowledges its own ridiculous nature, you’ll end up giggling at how many times the word “family” is uttered as usual, and the number of familial connections between characters is becoming ever more ridiculous. Everyone Dom knows at this point is connected to someone else in the franchise. It’s not hard to imagine him running into someone at the local auto parts store who is a long-lost cousin.
Fortunately, ‘Fast X’ is nimbler than ‘F9’ and papers over some of these typical cracks with gusto .
‘Fast X’ receives 8.5 out of 10 stars.
Vin Diesel as Dom in ‘Fast X,’ directed by Louis Leterrier.
‘Fast X’ is produced by Neal H. Moritz, Vin Diesel, Justin Lin, Jeff Kirschenbaum and Samantha Vincent. The executive producers are Joseph M. Caracciolo, Jr., David Cain, Chris Morgan, Amanda Lewis and Mark Bomback.
