Rendező:
Justin LinForgatókönyvíró:
Chris MorganOperatőr:
Stephen F. WindonZeneszerző:
Lucas VidalSzereplők:
Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez, Luke Evans, Tyrese Gibson, Gina Carano, Sung Kang, Gal Gadot, Ludacris, Jordana Brewster (több)Streaming (5)
Tartalmak(1)
Amióta Dom és Brian a riói balhéval hazavágtak egy helyi kiskirályt és szétosztották a százmilliós zsákmányt a bandának, hőseink szétszóródtak a világban. Ám az életük nem lehet teljes, mivel nem térhetnek haza, állandó szökésben vannak. Eközben Hobbs 12 országon át üldöz egy bandát, melynek tagjai halálosan felfegyverzett sofőrök, és vezérüket egy kíméletlen cinkos segíti, akiről kiderül, hogy nem más, mint Dom halottnak hitt szerelme, Letty. A bűnözőket csak úgy lehet megállítani, ha az utakon fel tudják venni velük a versenyt, ezért Hobbs megkéri Domot, hogy hozza össze "elit alakulatát" Londonban. A fizetség? Teljes kegyelem mindannyiuknak, hogy visszatérhessenek otthonukba, és egyesíthessék családjaikat. (UIP-Duna Film)
(több)Videók (64)
Recenziók (15)
Inkább mint a Halálos iramban: Ötödik sebesség filmhez, ez a merev, gyorsan összehozott forgatókönyv a Die Hard - Drágább, mint az életed filmhez áll közelebb. Tanácskozás, akció, tanácskozás, akció, tanácskozás, akció és így tovább és így tovább. A tanácskozások nem olyan viccesek, mint amennyire szeretnének, az akció pedig komikusan túlzásba vitt, a korunk legsikeresebb akciós sorozathoz képest nem eléggé áttekinthető. Továbbá a hatodik rész nem egy olyan vonzóan egzotikus helyszínen játszódik, mint az ötödik, vannak olyan kitérők a cselekményben, amelyek feleslegesen elnyújtják és elveszik a dinamikus jellegét (a börtönlátogatás, Diesel és Rodriguez versenye), és az előzetesekben már láttuk minden csattanóját.
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Due to the trajectory of the franchise and its concept of a team of criminals as a family, placing the high-octane action in a melodramatic context was probably inevitable. Melodramatic conventions are the reason why the film ends on the second attempt, why it has problems with rhythm and why the characters conform to psychological formulas at the level of three-year-olds. The film’s family theme prevents it from getting out of first gear, as every big action scene is followed by blather about important values, which is only a substitute for a more sophisticated plot. The only one who manages to reflect the obvious melodrama is the main villain, who, of all the film’s characters, is the most capable of rational thought. In the context of a film driven by illogic and sentiment, he represents an anomaly that must be eliminated. ___ The film’s obvious objective and the approximate way of achieving it are introduced shortly after the nostalgic opening credits (which logically and primarily accentuate the “team” level of the previous films), and only after it is achieved does the dully straightforward narrative formula undergo a slight modification: Toretto’s crew comes up with a way to get Shaw. But Shaw is smarter and avoids capture; as he does so, several expensive cars explode and a few anonymous civilians die. So Toretto’s crew comes up with another plan, during the execution of which more expensive cars explode and more anonymous civilians die. Instead of the gradual development of motifs and well-thought-out provision of information, the cards are rashly laid out on the table and the crew rushes pell-mell toward their objective (not even the two small “female” story surprises, one cheap, the other stupid, manage to in any way alter the course of events). The film is even more narratively “disintegrated” than Fast Five, but it doesn’t allow us to watch it undisturbed in a relaxing “standby” mode – enjoyment of the attractions is disrupted by the frequent dialogue, which is always serious about everything. A crucial problem of the film consists in the action scenes themselves, as they are fragmented by numerous unnecessary cuts and peppered with obvious digital tricks (the only car chase in Jack Reacher is directed far more clearly than any given chase in this film). __ Whereas the women in the film are dangerous, treacherous, defenceless, recovering from amnesia or just there to look good, the men were assigned the roles of invaluable protectors, capable lovers and excellent drivers. Fast & Furious 6 is just one big guyish pose, a film that too obviously displays its confidence in itself and the values that it promotes: if you have enough money, physical strength or weapons (or, ideally, a combination thereof), you can afford to go up against practically anyone. But you mustn’t put your family in danger. The relativisation of the villain and protagonist roles by means of self-reflexively pointing out the similarities between the teams facing each other (and whose members will fight each other more or less according to how Roman pairs them off) is ultimately just another false gesture with which Lin tries to conceal the fact that this time he bet more on big muscles, empty slogans and bombastic rhetoric than this 130-minute genre flick can bear. I don’t deny that it’s still a pleasure, but it’s much more of the guilty variety after Fast Five, whose testosterone-fuelled bombast was still generally acceptable. 70%
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This decade seems dominated by over-the-top action franchises like The Expendables and Fast & Furious. But while The Expendables leans into the throwback vibe of 80s and 90s action flicks, Fast & Furious is all about its insane car stunts and absurdly over-the-top action sequences. And honestly, in this installment, some of it is surprisingly bearable. It's a decent way to zone out for a couple of hours, packed with familiar faces. Nothing groundbreaking, just your typical mindless, but effective blockbuster fun.
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... and the bubble burst. NOS² testosterone³ in an absolutely unnecessarily over CGIed action scene which is more like gameplay footage than a regular movie. For Lin, this is a sad return to a never-ending series of routine movies that don’t know when to stop. However much number five was surprising (and deserved) winner of the action premier league, number six is on the brink of relegation to the second league of yawnably familiar rubbish.
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Lin has hit his limits, given that situations involving the characters and their emotional interactions elude him, taking his own feet from under him and in the final decision-making, he is unable to offer more than self-sacrificing glances and theatrical gestures. That’s assuming he doesn't fire off any major action bombs, but rather a still technically brilliant arrangement that has since last time abandoned any semblance of reality and ventured into the sci-fi genre (without a major highlight, moreover). This necessarily means a rough and painful fall that's ultimately hampered by the cast where everyone has parked themselves into their roles in a way that feels like they were just born for them.
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