Review: Fast and Furious 8

Although one of the most profitable franchises of recent times no longer has much to say to us, it is undeniable the affection that fans carry when they are watching another feature film. Fast and furious. Between highs and lows, the seven - now eight - films released since 2001 until today have always managed to deliver what they promised: action, explosions, super-fast cars and more than charismatic performances by their main cast.

Therefore, this eighth iteration is expected to give the audience what they want - and that is exactly what happens. The story revolves around Dominic “Dom” Toretto (Vin Diesel) in one of the most contradictory arcs of his own personality so far: his family's betrayal. After all, while celebrating his honeymoon with his wife Letty Ortiz (Michelle Rodrigez), Dom is approached by an apparently innocent woman, who we discover to be Cipher in a few seconds (Charlize Theron), a hacker most powerful in the world and who wants to recruit the protagonist's “heavy artillery” services. It would be very obvious that he would just walk away, and the story would come to an end shortly after a breathtaking sequence involving a burning car dispute (yes, that's right). Therefore, the screenwriter Chris Morgan opts for the easiest and most suitable exit within a plot to which we are already accustomed: the blackmail.

It seems a bit cliché that a cynical, sarcastic and extremely seductive antagonist incarnated by Theron uses such devices to get what she wants, falling into the villainous stereotype of so many films of the genre. However, the narrative construction itself manages to provide greater involvement by not showing directly why Dom gave in to the blackmail, making us imagine the secrets not revealed about his past and his criminal history.

One of the film's low points lies with absolute certainty in its turns. Everything happens very quickly and without much depth, perhaps to allow room for the following sequences within a relatively complex plot and lasting just over 130 minutes. Is that understandable? Without a doubt. But the disconnected successions, created mainly by the frantic montage and the exaggerated direction of F. Gary Gray, leave some gaps to be filled - especially when Dom hits his ally Luke Hobbs' car (Dwayne Johnson) and steals one of the most dangerous weapons ever created.

Despite the slips, Fast and furious 8 it is a competent and dosed film with a lot of detail between drama and comedy. While Diesel and Theron create the most tense scenes and with some interesting dialogues to be analyzed about choice and free will, Johnson and Jason Statham (reprising his role as Deckard Shaw) steal the spotlight in comical and almost moving sequences. The chemistry between the two is based on death threats and impossible feats, all converging on an unexpected alliance to save both your family and the world from a possible World War III.

The narrative is round and has its ups and downs, as well as any good plot of action involving the salvation of the world and the redemption of rebellious characters. The impossibility and the improbability of some scenes - see the moment when The Rock deflects a war missile with only his hands - is totally ignored by the incredible special effects that scrutinize the feature. The very combination of hot and cold colors in the chaotic and icy Arctic scenery even manages to stir the public's sensations - even if it doesn't reach the feet of the metaphorical visuality of other works of the genre, such as Mad Max: Fury Road.

Seeking a broader sense for the franchise Fast and furious it's like finding a needle in a haystack. The use of basic themes such as trust, betrayal and relationships is notable, but do not expect much more than some predictable twists and turns. The very completion of the Cipher arc is closely tied to the melancholy outcome that villains receive in action movies - despite clearly indicating the continuation of the franchise with more potential threats.

In short, the eighth film in the franchise Fast and furious it does not want to be a “production in search of the golden statuette”, but an essentially visual construction that aims to amuse an audience already accustomed to this genre. Its lack of pretentiousness is what makes it pleasing to the eye - and probably what guarantees viewers' loyalty for the iterations to come.