The first time that the “Fast & Furious” franchise threatened to stall out, Justin Lin drifted into the picture and jump-started it with a simple philosophy that would transform these movies into a global juggernaut: “If you ain’t outta control, you ain’t in control.” Over four films that ranged in quality from generation-defining blockbusters to “Furious 6,” Lin helped a semi-grounded saga about illegal street racers shift gears into a bonafide cinematic universe without losing its soul.
The stakes got higher and the stunts grew more absurd with every installment, but even as the story foamed into the kind of high-octane soap opera suggested by the series’ title — amnesia, fake deaths, and inexplicable retcons were all in play before Lin bowed out — it always felt as if these meat-headed spectacles recklessly expanded in a way that also allowed them to circle on the characters’ core essence. The dumber things got, the more sincere they became: It was a dolly-zoom effect that rendered the sight of Vin Diesel driving a car out of an exploding military plane at the end of an 18.37-mile-long runway into a heartfelt illustration of a #Family under fire.
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When Lin handed over the keys in 2015, however, the “F&F” saga careened toward the brink of madness so fast that James Wan and longtime franchise screenwriter Chris Morgan could only race to build new roads before the whole thing went over the edge — a plan that went so poorly they ended up equipping the cars with parachutes instead. Morgan and “Fate of the Furious” director F. Gary Gray found themselves in an even more precarious situation two years later, as they reeled from Paul Walker’s death and a pissing contest between Diesel and Dwayne Johnson. The result was an empty shell of a film that betrayed the core of the franchise by suggesting that family maybe wasn’t quite sacred to Dominic Toretto. Without that foundation, a Corona-drinking Los Angeles gearhead jumping his Dodge Charger over a Russian nuclear submarine suddenly felt kinda inauthentic. The series was outta control because it wasn’t in control.
And so, with “F9” Lin returns to the driver’s seat to steer “F&F” back onto solid ground. Only this time, he isn’t trying to jump-start a stalled race car so much as regain command of a runaway freight train the size of the Chrysler Building. Once again, Lin gets the job done not by slamming on the brakes, but rather by speeding things up to such a ridiculous extreme that the velocity starts to hold everything in place.
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It isn’t always pretty. The first “FaF” without Morgan since 2002, “F9” is a scattered mess full of weightless CGI that whiffs on some crucial moments and doesn’t even get out of neutral until the final hour. For all of the cartoonish flair Lin demands, this $200 million tentpole is bound to disappoint anyone hoping for an action movie that can match the skill of “Fast Five” or the unleaded personality of “Tokyo Drift.” That said: Watching Michelle Rodriguez drive over landmines faster than they can explode beneath her motorcycle feels like snorting nitrous straight from the tank after a year of being forced to pretend that movies are even remotely the same at home.
But if “F9” works — and it does, at least by the time the Coronas are popped open — it’s because Lin understands how these movies work best as feature-length dolly zooms that push in on Dom’s vulnerability by widening out to an inhuman scale. This is, by FAR, the biggest, wildest, gravity-defying-iest “Fast and Furious” installment yet, with one scene toward the end guaranteed to make your jaw drop at the gloriously brain-dead chutzpah of it all. Lin and Daniel Casey’s screenplay can stretch the action to farcical heights because it offsets the spectacle by drilling into Dom’s character more deeply than the franchise ever has before. Okay, “deeper” might be too strong a word — it implies some measurable degree of previous depth — but from its opening moments “F9” is determined to explain how this deeply weird human being came to have oil in his veins.
The story begins in real “Days of Thunder” territory circa 1989, complete with Michael Rooker working as a pit boss at the California speedway where Dom’s father blows up in a wreck so over-the-top that you wouldn’t blame either of his sons for laughing about it. That’s right, Dom’s had a little brother this whole time. His name is Jakob, he’s played as a young man by Finn Cole, and Dom — in a rush to judgment that doesn’t quite square with his #Family credo — decides that Jakob must have killed their dad on purpose because he was the last one futzing with his car.
This is all ancient history for the Dom we know and love; the kind of guy who lives his life a quarter mile at a time doesn’t spend a lot of time looking in the rear-view mirror. That’s especially true now that Dom and Letty (Michelle Rodriguez, kicking more ass than she has in the last eight films combined) are living off the grid in peace with their toddler Brian. The son has become the father, and Dom would rather let that circle stay unbroken. You’ll never guess what happens next: Tej (a sleep-walking Chris ‘Ludacris’ Bridges), his moron friend Roman (Tyrese Gibson, taking things dangerously close to Lloyd Christmas levels of dumb), and the beautiful hacktivist who puts up with them (Nathalie Emmanuel) show up to kick off a wild-goose chase that starts in the invented Central American country of Montequinto and winds its way through a mixed bag of stunning locations and sound stages so obvious they make Tokyo seem like a fictional place.
“F9”