Lawman Luke Hobbs and outcast Deckard Shaw form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity.
Dwayne Johnson and Jason Statham are Hobbs and Shaw, although who is which becomes as forgettable as this clunky, overloaded, unremarkable action film. With a franchise as storied as “Fast & Furious,” – seven sequels and counting – one can legitimately wonder what the producers must do to take things up a notch. Based on this effort, the answer remains unclear.
The premise is straightforward enough – and equally uninventive. A deadly pathogen that turns people’s guts to goo threatens to unleash itself on the world. Enter Hobbs and Shaw, who know each other well, and despise each other just as much. Hence – and naturally – the CIA concludes they are the perfect pair to work together and save the world. Much fatiguing verbal banter follows by the two leads, despite the verve they employ jousting like an old married couple.
Idris Elba as a genetically boosted terrorist – literally back from the dead as part man, part machine – leads a team of lawless operatives to recapture the infectious agent for their own nefarious purposes. Always a compelling presence, Elba provides a strong performance, but the hoary material eventually gets the best of him in the end.
Vanessa Kirby as Hattie carries and safeguards the lethal virus, while the clock predictably ticks down to release. She delivers a welcome diversion, spunk, and thoughtfulness to a role that the headlining megastars could easily have overshadowed.
Throughout, the dialog in Chris Morgan’s screenplay desperately tries to tread new ground, and occasionally it succeeds with some sharp wit. However, too often, the clichés inevitably creep in, weighing down an already burdened production. An obligatory “Woo!” exultantly shouted by Dwayne Johnson offers but one of so many, many examples. Seriously, “Woo?” How about, “Big Woo!” Further, all attempts at character development come off instead as soppy and compulsory – necessary items to check off the list in order to get the storyline greenlit.
Some of the stunts are indeed exciting, though with CGI, all things are now possible on the big screen. In this case, the impressiveness has more to do with the creativity of concept rather than the perfunctory execution of the VFX. Most of the time, the motorcycles, helicopters, and fast cars stream into a collage – sort of like the greatest hits of countless previous action movies.
An uncredited Kevin Hart and Ryan Reynolds make delightful appearances that impart much-welcomed levity into the narrative. One wonders if perhaps they warranted more screen time, instead of what are essentially cameos. Likewise, Helen Mirren shows up all too briefly – only to disappear, never to be seen again.
The ubiquitous action sequences in “Hobbs & Shaw” will likely please many viewers, particularly those who enjoy R-rated violence incongruously packaged into a PG-13 film. After a while, however, enough is enough. Trading on the family name, this “Fast & Furious” spin-off demonstrates that it’s possible to achieve both – in wanton excess, no less – and still be found wanting.
In Theaters Friday, August 2nd
