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While the poster for Hobbs and Shaw declares it is presented by Fast and Furious, it has very little in common with that franchise other than the participation of Dwayne Johnson and Jason Statham, reprising their characters from the Furious films.

In other words … REJOICE! Leaden, dreary Vin Diesel is nowhere to be seen in this movie!

Hobbs and Shaw is a bizarre hybrid of spy thriller, action pic and science fiction. While Fast and Furious movies are certainly outlandish, they remain somewhat grounded in reality (with the notable exception of a car jumping from skyscraper to skyscraper). Hobbs and Shaw, however, completely abandons realism.

It’s too damn long (137 minutes!), but when it works, it works well. It also functions as a comedy in that Johnson and Statham have great timing and work well together.

Hobbs (Johnson) and Shaw (Statham) are protecting Shaw’s sister, Hattie (Vanessa Kirby of Mission: Impossible—Fallout) after she injects herself with something that will have worldwide consequences if she’s captured. The main antagonist is Brixton (Idris Elba), a former Shaw ally who has been turned into some sort of bionic badass who calls himself “Black Superman.” This is one of those places where the film goes totally batty—in a fun way.

The movie also goes a little crazy when it comes to the sibling relationship between Shaw and Hattie, who we see performing evil schemes like “the Keith Moon” in flashbacks to their youth. Problem: Statham is 20-something years older than Kirby, yet their characters are supposed to be virtually the same age in the flashbacks. The movie defies reality in more ways than one.

You won’t really care, because director David Leitch, who gave us the first John Wick, knows his way around action scenes and edits his films so laughs come constantly. While it’s expected that Johnson and Statham will kick ass in action scenes, it is Kirby who steals the show as the action hero of this film. She is, simply put, a total badass.

Hobbs and Shaw has enough star power with Johnson and Statham, but Leitch offers some nice surprises with uncredited cameos. I won’t give them away, but they blindsided me and enhanced the “let’s just go nuts” essence of the movie. The people with the cameos have extensive time, and they are very funny.

Elba is great as a bad guy, and he has a super-smart motorcycle that would make Bruce Wayne jealous. Helen Mirren reappears for a scene or two as Shaw’s incarcerated mom, and she’s always good to have around.

I will say again: This film is way too long. There’s a scene near the end involving a chase around some nuclear reactors that has all the makings of a climax … and then the film takes off to Hobbs’ native Samoa for an extended ending that lost me. This movie would’ve been just right between 90 and 105 minutes. It wears out its welcome a bit.

Still, it’s a blast for most of the running time, and definitely makes the case for more stories about Hobbs and Shaw. With Johnson and Statham on the scene, it’s time to send Diesel packing. We need Hobbs and Shaw movies from here on out in the Fast and Furious universe … and give Kirby her own franchise. She deserves to be center stage!

Fast and Furious Presents: Hobbs and Shaw is now playing at theaters across the valley.

Published in Reviews

Tom Cruise is his maniac self in Mission: Impossible—Fallout, the sixth installment in the steady franchise—and proof that Cruise is certifiably insane. The movie is one “Wow!” moment after another, and the guy shows no signs of slowing down, even though he’s now 56 years old.

The movie stacks stunt after stunt, featuring Cruise doing everything from jumping out of airplanes, to scaling cliffs, to piloting his own helicopter. It also shows Cruise leaping from one rooftop to another and breaking his ankle against a building—a stunt that shut down production for weeks, but remains in the film, in all its bone-breaking glory.

Do we really care about the plot when some of the best stunts and action scenes ever are here? Thankfully, the plot is a fun, twisted story, so you’ll be interested even when Cruise isn’t risking his life. Yes, there are a lot of, “Hey, haven’t I seen that before?” moments—lots of masks get ripped off, for starters—but the labyrinthine hijinks still feel fresh overall.

No, I’m not going to do much to explain the plot. It wouldn’t really do you any good.

OK, I’ll tell you a little.

Ethan Hunt (Cruise) finds himself on yet another mission to save the world, this time from nuclear terrorists headed by Solomon Lane (Sean Harris), the baddie from the franchise’s prior installment, making a welcome return. This time, Hunt is saddled with an “observer” in August Walker (Henry Cavill), tasked by CIA director Erica Sloan (a so-so Angela Bassett) with making sure Ethan and the IMF complete their mission with minimal funny stuff.

Cruise is sick in the head. Thankfully, one part of his sickness makes him willing to pull off movie stunts like the ones mentioned above. Cruise, while reteaming yet again with director Christopher McQuarrie (now the only director to have helmed two M:I films), manages to pull off his most spectacular cinematic feats yet. The skydive sequence, in which Hunt must work to save an unconscious co-jumper before they go splat, is simply unbelievable (in a good way). There’s a motorcycle chase through Paris streets that demands you see this thing on an IMAX screen.

Cavill, whose facial hair in this film has gotten a lot of attention over the last year, gets a chance to stretch out and play someone far more interesting than his Kryptonian dud. Here, he’s a multi-dimensional badass, especially in a bathroom brawl during which Walker and Hunt try to take out a worthy opponent. Cavill shares in the glory of some of the film’s craziest stunts. That’s not him skydiving, though: Cruise, also a producer on the film, forced Cavill to watch that sequence from the ground in favor of a stunt double.

Alec Baldwin, the original Jack Ryan, takes a break from hosting Match Game to show that he can still throw some big-screen punches as Hunt’s new IMF commander. Vanessa Kirby is sinisterly terrific as White Widow, a sly arms dealer Hunt whom must confront. In her second go-round, Rebecca Fergusson’s Ilsa Faust adds many elements of surprise. Simon Pegg and Ving Rhames deliver their usual, competent support. Lorne Balfe’s score deserves a big round of applause for its adrenaline-inducing contributions.

No matter how much money this movie makes, Cruise needs to slow down at some point. In some ways, Mission: Impossible—Fallout feels like it could be the franchise capper. It’s hard to think of any way Cruise could top what he puts onscreen, action-wise.

Then again, I probably started saying stuff like that when the original Mission: Impossible came out.

Mission: Impossible—Fallout is playing at theaters across the valley, in a variety of formats.

Published in Reviews