Watch Fast and Furious 6 Online The final scene ends with – we kid you not – a prayer. It hardly matters that Gina Carano sounds like she’s reading from a chart at the opticians. It hardly matters that the dialogue is composed exclusively in meme slogans (“This is all on me”, “I’m going to make this right”. As with the Lethal Weapon series, there’s a whole lot of positively SPUC-friendly chatter about family values. The number 6 is not a reassuring sight, whether it’s Police Academy 6: City Under Siege, three 6s on the infant Damien’s scalp, or the 1990s New Labour adviser Perri 6. But despite being the sixth movie in the petrol-head franchise starring Paul Walker and Vin Diesel, this film’s got a fair bit in the tank; it’s silly but enjoyable. Brian O’Conner (Walker) has become a dad,
Download Fast and Furious 6 Movie and his buddy Dominic Toretto (Diesel) solemnly tells him his life will change. Absolute nonsense of course. Soon he’s revving and racing and fighting just as in his bachelor days, with his wife’s dewy-eyed blessing. Toretto’s crew has been recruited by special agent Luke Hobbs, played by Dwayne Johnson, the veins on whose massive biceps are as thick as tree branches. Much of the film is set in London (some Skyfall legacy?) and Hobbs wants them to take down a sinister gang led by ex-SAS officer Owen Shaw (Luke Evans), who appears to have recruited or brainwashed Toretto’s ex-paramour Letty, played by Michelle Rodriguez. Rodriguez gets some one-on-one fight scenes with Hobbs’s assistant Riley, played by Gina Carano. Rodriguez has some outrageous badass dialogue. To a smart-mouthed tough guy, she snarls: “You’re supposed to be Team Muscle. Don’t make me come over there and make you Team Pussy.” It’s reminiscent of the moment Whistler remarked to Oscar Wilde, when Wilde pinched one of his bon mots: “You’re supposed to be Team Original Drollery. Don’t make me come over there and make you Team Chastened.”
The franchise that’s so fast it’s shed its definite articles zooms back over the horizon. Can director Justin Lin’s previous installment - the none more fast, none more furious F&F5 be further modified for fastness and furiousness? Apparently so: F&F6 now features harder-bottomed girls and even larger man-mountains.
Forget cars. These days Vin Diesel’s crew are going to war against supertanks and military air carriers and something that looks like the Batmobile. Forget polite introductions: recurring characters arrive with handy cut-out-and-keep guides: Tyrese Gibson shows up in a private plane bearing the legend “It’s Roman, bitches”; The Rock, an ill-defined law enforcer who spent the last movie hunting the crew, is now a close enough confidant and unofficial team player to have earned the nickname Samoan Thor.
The big news is that Letty (Michelle Rodriguez) – she’s our fave Fast and Furious! – is, for reasons far too nonsensical to explain, back from the dead. Unhappily, she’s now in the employ of Luke Evans’s megalomaniac who may or may not be attempting to bring down a city. Possibly London. Most of the movie, with a nod to Rest of World takings, is set there.
Pleasures don’t come any simpler or more homoerotic than the F&F movies. Unlike, say, Olympus Has Fallen, Fast and Furious 6 embraces its craziness and implausibilities with no little aplomb and with minimal crummy CGI. It’s not logical. All it wants is for you to shout out “freakin’ sweet!”. It’s not clever. But it is big.
Stay tuned for the credits: a starry cameo promises even bigger things for F&F7 . It’s a date, dog.
"Fast & Furious 6" raced out of the gate as the No. 1 film in the U.K. and Ireland on Friday, posting Universal’s biggest opening day ever in that market with $4.6 million.
That figure beats the $3.6 million that the fourth film in the franchise, “Fast & Furious,” opened with in 2009 and is the year’s second-best opening day in the U.K., just behind the $4.7 million of “Iron Man 3.”
Warner Bros. rolled out “The Great Gatsby” on Thursday in the U.K., and that film has taken in $2.5 million. “Fast & Furious 6” is set in London and had its global premiere there so an initial opening in the U.K. made sense for Universal. The U.K. was also the most lucrative foreign market for “Fast Five,” which brought in more than $30 million in 2011.The film opens on Friday in North America and in 59 international territories.
Watch Fast and Furious 6 Online Free Universal has high hopes for “Fast & Furious 6.” Its predecessor “Fast Five,” was the franchise’s highest-grossing entry. It brought in more than $625 million worldwide, with $416 million of that from international. Domestically, it opened to $86 million and went on to make $207 million.
Director Justin Lin and screenwriter Chris Morgan are back for their fourth go-round, along with a cast that includes Vin Diesel, Dwayne Johnson, Paul Walker, Jason Statham, Luke Evans, Jordana Brewster and Michelle Rodriguez.
In this installment, agent Luke Hobbs (Johnson) enlists Dominic Toretto (Diesel) and his team to bring down former Special Ops soldier Owen Shaw (Evans), leader of a unit specializing in vehicular warfare.
If blockbusters began in 1915 with The Birth of a Nation, then we are fast approaching the genre’s centenary. The intervening 100 years have brought so many innovations – sound, colour, digital, 3D – that it’s worth taking a moment to marvel at the three things that have remained almost entirely unchanged since DW Griffiths’ Ku Klux Klan-glorifying epic was released. Blockbuster cinema is, and always has been, overwhelmingly male, straight and white.
Take, for example, Star Wars: the noble, aryan, farm-reared Luke Skywalker wouldn’t look particularly out of place on a poster in 1930s Germany. Then there’s Indiana Jones: an Ivy League academic who swans off to the third world, relieves the locals of their artefacts, and packs them away in a museum. Batman is a scion of the plutocracy; Iron Man is a capitalist warmonger. Harry Potter? Private-schooled, old money, born into the “right” sort of family. James Bond? Imperialist sex pest. Avatar? Bow down to your white messiah, blueskins! And so on.
Of course I am being a touch facetious, but the overarching pattern can hardly be denied. Besides, on the rare occasions blockbuster heroes are not white, they tend to be playing for the Caucasian team anyway. Think of Eddie Murphy in the Beverly Hills Cop films: a rough-diamond Detroit native, but when does he become interesting? When he’s summoned to the manicured boulevards of Los Angeles, California: a black man invited to sup with the white elite.
Which brings us rather neatly to the Fast & Furious franchise, which has made $1.6 billion worldwide to date by being emphatically neither elite nor white. These films are about hijacks and lowlifes: daring heists pulled off by loveable crooks with a penchant for customised sports cars and the kind of muscle beach physiques you thought went out in the early 1990s, along with Troll dolls and Communism. Its cast hail from every race under the sun, and are utterly at peace with the series’s roaringly unsubtle bisexual subtext. The films occupy a unique and fascinating position on the contemporary movie landscape: they are at once incredibly important and not all that good.
Watch a Fast & Furious film and you’ll recognise the aesthetic straight away: not from Hollywood, but the American music industry, where sounds and images from all manner of cultures are smudged together in a spirit of experimentalism that brings to mind a finger-painting toddler. Nicki Minaj, the Trinidadian rapper, marries brawny East Coast hip-hop to sugary Japanese pop music and much more besides, and she has sold five million albums to date. This, too, is the Fast & Furious method. Where else in cinema have the races come together with such unqualified success? Normally the results fall somewhere on a sliding scale of antagonism, from the master-servant dualities of Lawrence of Arabia, to the mutual resentment of Crash, to the thorny one-upmanship of Sweet Sweetback’s Baadasssss Song and the blaxploitation boom that followed.
It is, however, worth noting that it took four instalments for Universal to finesse the formula. In the first film, The Fast and the Furious, the central character is Brian O’Conner, a blond-haired, blue-eyed LA cop played by Paul Walker, who infiltrates the city’s street-racing scene, and wins the trust of serial hijacker Dominic Toretto, played by the mixed-race actor Vin Diesel. Studios love characters like O’Conner: they are safe, white faces who can lead suburban teens into the exotic world of the film.
Watch Fast and Furious 6 Online Full Movie The second instalment, 2 Fast, 2 Furious, stuck with this template: it kept O’Conner, dropped Toretto and relocated to Miami. The third film, subtitled Tokyo Drift, dropped O’Conner as well, but the formula stayed the same: white interloper meets vibrant ethnic subculture, and the Caucasian comes out on top.
During the making of Tokyo Drift, Universal executives discussed making significant changes to the franchise with Justin Lin, that film’s Taiwanese-born American director. Future instalments, they decided, would foreground crime, scale back car talk, and favour practical effects over computer graphics. Those same executives will also have noticed the unusual weighting of Tokyo Drift’s box office returns: a disappointing $62 million in the US, but $109 million overseas, $8.3 million of which came from Japan, where the film was largely set.
Accordingly, Fast & Furious, the fourth film in the series and the second to be directed by Lin, was treated as a fresh start. It reunited Diesel and Walker and moved the story back to California, also dipping over the border into Mexico. The film made $155 million in the States and $208 million overseas, $33 million of which came from Mexico, Central and South America.
Fast & Furious 5: Rio Heist shifted focus to Brazil; it also added the former wrestler Dwayne ‘The Rock’ Johnson to the series’ ever-expanding cast. Fast Five made close to $70 million in those same territories, and $20 million in Brazil alone.
The latest episode, which was released in British cinemas this week, takes place mostly in London. The cast as it stands is made up of actors from the following racial backgrounds: Black Nova Scotian/Samoan, Irish-American, Dominican/Puerto Rican, Spanish, Brazilian-American, Korean, Israeli, Indonesian and Welsh. (Luke Evans, who plays the villain, is from Aberbargoed in Monmouthshire.) Interracial angst is nowhere to be seen: apart from the Welshman, everyone gets along famously.
“It’s the United Colours of Benetton movie,” laughed the actor Don Cheadle, when I interviewed him about his role in Iron Man 3 and the subject of the Fast & Furious films came up. “This is how Hollywood can hit everybody. ‘We want your biggest star, we want your biggest star – throw them all in there.’”
Racing matters; race is irrelevant. Where, then, does that leave the sex? In an unscientific social media poll last week, I asked Telegraph readers what they enjoyed most about the series; one of the most popular answers was its playful homoeroticism. (“The Rock and Vin Diesel, and the chance they might start rolling around in engine oil and kissing” was one of the more vividly imagined responses, submitted by a young lady from Cheltenham.)
There is, of course, nothing in the Fast & Furious films to give Brokeback Mountain a run for its money – but it’s rare for a mainstream studio picture to openly entertain the possibility that its heroes could be bisexual. At one point in the fourth, a typically pneumatic female asks Toretto if he prefers women or cars: “I appreciate a fine body regardless of the make,” he shoots back.
In the fifth film Diesel and Johnson mount one another like bison in heat in a ludicrous tussle in a shed; in the sixth, Michelle Rodriguez and Gina Carano, the strapping female mixed martial artist, clash on the London Underground in a brawl that, to these eyes, was basically frottage.
Watch Fast and Furious 6 Online By reflecting cultures that tend not to be represented in day-to-day Hollywood business, the series has become both slyly subversive and enormously popular; but this is not some kind of slippery social engineering project by Universal. (If it were, you can bet the franchise’s target market would reject it.) The dumb beauty of the Fast & Furious films is that they are radical entirely by accident. They don’t lead their young audience but follow them, engines roaring, while the sun glints genially in the wide blue sky.