Fast X (2023 movie review)

This evaluation remains free of spoilers, so no need to worry.

Fast X bears the weight of past transgressions. In the midst of Fast Five, we witnessed Dom and Brian laboriously hauling an enormous vault through the streets of Rio de Janeiro, ultimately crushing its proprietor, the drug lord Hernan Reyes (Joaquim de Almeida), inside his own vehicle. They departed to embark on a fresh existence, but their actions left Dante (Jason Momoa), Reyes' son, with nothing but a deranged temperament and a burning desire for revenge. "I shall never accept death when suffering is owed," he repeatedly declares, a principle inherited from his deceased father.

A decade later—don't delve into the reasons for the considerable time gap—the individual least expected makes a bloody entrance at 1327: Cipher (Charlize Theron). "I encountered the devil tonight," she asserts. "The enemy of my enemy... is you." Thus commences a global game of cat and mouse, spanning from a wrecking ball bomb wreaking havoc in the streets of Rome to the illicit trade routes of London, with both familiar and fresh faces making appearances along the way (no spoilers here).

The usual team is engaged in their respective endeavors, but don't anticipate significant contributions from them this time around: Tyrese Gibson maintains his trademark style, yet the humor seldom elicits more than a sharp nasal exhale; Chris 'Ludacris' Bridges and Nathalie Emmanuel form an amiable tech duo, although their character development can be summarized in a mere couple of seconds.

We yearned for justice for Han, but what we receive in return falls short. Sung Kang performs adequately, but the screenplay grants him little to do apart from swiping on Tinder and engaging once again with his reaper: Jason Statham's Deckard Shaw, who effortlessly steals scenes among A-to-B characters (which is unsurprising given director Louis Leterrier's prior collaboration with him on The Transporter).

Even Vin Diesel, despite his efforts in scenes featuring "little B," cannot sustain the self-serious machismo that has turned him into a blockbuster icon. Regrettably, the movie grinds to a halt whenever the focus shifts to him and his brooding, patriarchal bravado. Michelle Rodriguez remains blameless in all of this: she emanates a radiant aura of badassery, particularly when sparring with Theron's Cipher, a tech-driven villain who skillfully maneuvers and engineers her way out of any predicament—although her performance would be diminished without the undeniable talent of the Oscar-winning actress.

Jason Momoa and Alan Ritchson emerge as standout performers. The debutantes and lesser-known characters shine the brightest. It would be disingenuous to label Momoa as a revelation—we all undoubtedly experienced a surge of joy from the heartfelt "ma boy!" embraces in Dune—yet he operates on an entirely different plane compared to everyone else. He imbues every line with manic delight, effortlessly transitioning between intimidating flatulence sounds, playful games of peekaboo, and engaging in jovial conversations with two tape-mangled, toe-painted corpses (one of the film's most macabre visuals). In certain ways, he serves as the Joker to Dom's Batman; he perceives pain as a game and regards family as an accursed proposition. "You desire to control the world... I simply wish to punish it," he proclaims.

In other quarters, John Cena electrifies the screen with his expressive and amiable energy—a soft "woo" involuntarily escapes my lips upon his entrance. Meanwhile, Brie Larson, portraying Tess, the daughter of Mr. Nobody, proves to be an impeccable replacement for the incredibly charismatic Kurt Russell, who can be deemed the most captivating actor on

the planet. One actor brings an intense heat: Alan Ritchson of Reacher fame, a real-life, bicep-bursting action hero who would effortlessly steal the movie if it weren't for Momoa.

Alan Ritchson and Brie Larson in Fast X

UNIVERSAL PICTURES

Unfortunately, the sound mixing fails to do justice to Brian Tyler's score (although his theme remains captivating). However, the reggaeton vibes persist in the soundtrack of this tenth installment, complemented by the poignant use of "See You Again" as a motif to remember Paul Walker's Brian. As for the visual aspect, well, apologies to Stephen F. Windon, but any semblance of visual flair is suffocated by unappealing CGI. Despite an abundance of bombastic moments, with the exception of the obvious practical effects, none of it appears particularly convincing.

Leterrier appears to be a suitable fit for the Fast family: The Transporter series (particularly its sequel) is replete with exhilarating sequences both on and off the streets; Unleashed showcases brutal and visceral martial arts action; and Now You See Me, while utterly absurd, aligns with the franchise's spirit post-Fast Five. It is an authentic addition to the series, although the action sequences require significant improvement. Leterrier excels in confined, compact spaces (such as Letty pressing a man's face against a descending wall, a moment that evokes white-knuckle tension), but the grander spectacles are more comical than thrilling. Cars fail to exhibit the expected impact and bounce, and there seems to be a certain level of pedestrian invulnerability on the streets these days, reminiscent of the video game Driver.

On this occasion, the responsibility lies with the script. Although it contains some exceptional lines—"If it defies the laws of God and gravity, they've done it twice," remarks Ritchson—and maintains a brisk pace, it fails to provide the same level of gratification as its predecessors. Nevertheless, even then, it resembles the theatrical equivalent of a Saturday morning cartoon—so long as we enjoy the company of the characters, little else truly matters.

Fast X review score: 3/5

Fast and Furious 10 may be considered a lower-tier entry, yet its self-aware preposterousness and corniness make it impossible to despise. At the end of the day, a win is a win, and the Fast Saga no longer knows how to lose.