Few franchises have endured the improbable twists and turns of “The Fast and the Furious” series. In the years since, what began as a cheap summer programmer took many forms, transforming from a “Point Break”-style cops-versus-criminals romp to an international, multifaceted spy franchise and in the process became the most successful franchise in the history of Universal Studios. It’s a franchise that has, implausibly, survived dramatic changes in creative leadership, the tragic death of one of its leads, and clashing egos (instead of breaking the series apart, the rift led to an enjoyable spin-off). Now, after a COVID-mandated postponement of over a year, the ninth installment, simply titled “F9” (the franchise’s blatant disregard for standardized naming conventions is admirable), is faced with a challenge none of the other entries have had to experience—convince moviegoers to return to the theaters after more than a year of being couped up at home. Given how hugely entertaining “F9” is, combined with its supply of oversized action set pieces that would feel positively neutered at home, this latest ‘Fast & Furious installment really rises to the occasion in ways you might not imagine.
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“F9” follows the events of 2017’s “The Fate of the Furious” (and in a more tangential sense 2019’s “Hobbs and Shaw”)— Dominic Toretto (Vin Diesel) is living a simpler existence with his wife Letty (Michelle Rodriguez) and young son Brian. (He doesn’t even own a phone.) But a frantic distress transmission from an old acquaintance leads Dominic and Letty to rejoin their old crew (including Tyrese Gibson, Chris “Ludacris” Bridges, and Nathalie Emmanuel) for yet another globe-trotting adventure that finds the team trying to prevent a sci-fi-ish technological doodad from falling into the hands of a power-hungry madman. Of course, this being “The Fast and the Furious,” a franchise defined largely by its single-minded focus on the concept of family and its willingness to unleash telenovela-style ludicrous plot twists, the aforementioned power-hungry madman is none other than Dom’s estranged brother, Jakob (John Cena). Truly, this revelation will test the togetherness of the makeshift family like never before. “F9” sees the return of many familiar faces and the introduction of some new ones. While it tells a self-contained story, it also leaves the possibility open for future installments (sometime last fall, Universal announced that the eleventh film would be the saga’s conclusion).
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Far from being a more conventional entry in the series, “F9” boldly mixes up the formula in ways both playful and arguably profound. Director Justin Lin, who proved the franchise’s elasticity with the wonderful “American Graffiti”-esque “The Fast and the Furious: Tokyo Drift,” returns for the first time since 2013’s “Fast & Furious 6.” Within the first few moments, what becomes abundantly clear is how much these movies mean to Lin and how intrinsically he understands what makes them successful. (Also, just how much better they are when he is at the helm.) This is a filmmaker who knows what beats he has to hit and yet still maintains a level of fearlessness, willing to push the boundaries and expand the movie’s scope.
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One of the biggest examples of this relatively “experimental” streak is that the movie is equipped with a series of substantial flashbacks to Dom and Jakob’s past, beginning with a cold open set in the late 1980s. At first, these sequences seem, at best, unnecessary and at worst actively taking away from the main narrative thrust of the film. (Over the past nine movies, ten if you count the spin-off, the mythology has gotten increasingly complex and occasionally muddled.) But as the movie speeds forward, these sequences serve to deepen our understanding of the characters and add some much-needed emotional heft. One of these scenes even answers a lingering question from the very first movie (and the answer isn’t a total letdown). It’s not exactly “The Godfather, Part II,” but this structure does allow for more nuance and texture than you’d expect. (The return of a fan-favorite character, teased in the trailers, also makes for an unexpected lump-in-the-throat moment.) These movies are built to thrill, but when they make you feel, it’s even better.
The other element that feels genuinely novel is “F9’s” cheeky self-awareness. Lin is clearly a filmmaker who reads the comments and checks Twitter. He also has an innate understanding of the audience and when something is perhaps too outrageous. At least two moments in the movie seem directly ripped from message board fan fiction (the aforementioned return of a long-lost character and a plot point during the climax). And while that might sound like something derogatory, it’s not. Lin makes this shit sing. It’s never obnoxious or fourth-wall-breaking. There is also a hilarious running gag between Bridges and Gibson about how the characters are seemingly invincible, given the number of crazy situations they’ve found themselves in (and a more throwaway jokes about the importance of physics, an area of science that, historically, the franchise has had little regard for). There’s a kind of elemental thrill that these moments carry with them, so to give away anything more would be to strip the experience of some of this excitement. And family doesn’t do that to family.
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More miraculous is that these two directives— to deepen the series’ humanity (relatively, of course) while also acknowledging its inherent silliness— exist comfortably side-by-side. Given how inherently preposterous much of the movie is, this is no small feat.
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At 145 minutes, “F9” is definitely too long, and while Lin can stage a massive action set piece expertly if those set pieces involve vehicular mayhem, he’s a little shakier when it comes to hand-to-hand combat (sometimes literally; that jittery camerawork has got to go). But it’s hard to argue with too many of the decisions considering what a fitfully entertaining and satisfying entry it really is. This is a movie stuffed (perhaps overstuffed) with moments that will make you gasp, giggle and applaud, whether this is your first “Fast and Furious” movie or you’re a longtime fan. (And, yes, some of these responses are undoubtedly heightened by the fact that it’s elating to be back in a movie theater with a movie this undeniably rousing.) By the time the movie reaches its certifiably insane climax, easily the most go-for-broke and visceral since the Rio heist in “Fast Five,” “F9” has crossed over into theme park rollercoaster territory. And more likely than not, you’ll have your hands in the air, your voice hoarse from laughing and yelling so much. Really, what more do you want from your first trip back to the theater in more than a year? [B+]