The plot of  the new Fast and Furious 6 (2013) has Dwayne “The Rock” Johnson’s cop approaching Dom Toretto (Vin Diesel) and his ex-criminal crew to help him vanquish the toughest, smartest international crime team, based in London, you’ve presumably ever seen.  Dom agrees to it since this may be the only way he can reach his still-alive lost love, Lettie (Michelle Rodriguez), who seems to have some connection with the London-based baddies—and is now an amnesiac (!)

Not surprisingly, so much propulsive action goes on in Justin Lin’s lark that it ends up diluting its thrills.  Yet some of this stuff is irresistible—the cutthroat fight between Lettie and a policewoman (Gina Carano), for instance.  And the main villain’s act of blowing up the bridge the London police are standing on as they fire at his getaway car.  As for the auto chase material, I loved the shot of Tyrese Gibson leaping from one speeding car to another and that of hapless Lettie getting flung into the air before Toretto’s silly, superheroic rescue of her.  And the wicked tank is cool too.

Now this:

The movie has a way of making British folks look bad; what’s up with that?  Dom is hypocritically religious, though it’s interesting that religion is in the film at all.  Moreover, I found myself wishing Furious 6 was a little less stupid—Dom’s crew locates the tough, smart crew for a final battle with a bit too much ease (etc. etc.)—for all the fun it supplies.

I give it a B.

Fast and Furious 6 Premier 6 (Photo credit: ahisgett)

Sooner or later we come to understand that quality in life is what we want and will strive for.  For young Benjamin (Dustin Hoffman) in The Graduate (1968), this quality is represented by the daughter of the forty-something mother Benjamin is adulterously sleeping with.  The graduate changes in the course of the film and, unlike Mrs. Robinson (Anne Bancroft), was never interested in mere Acquisition in the first place.  It’s no wonder the seducer can’t keep seducing.

The Graduate (Photo credit: Wikipedia)

It’s increasingly hard for movies to be interesting.  A Danish picture with a lot of English dialogue (as well as a lot of subtitles), Susanne Bier’s Love Is All You Need (2013) is wispy and largely unimaginative—in short, a yawner.  Not at all is it redeemed by the southern Italy shots and the absence of sentimentality.  The characters, especially the men (played by Pierce Brosnan, Kim Bodnia and others), are depicted not only in a shallow way but in a laughably, almost stupidly shallow way.  The dialogue reveals so little about them you’re tempted to wonder why it even exists.

Bier has done far better than this in the recent past—with Open Hearts, for example—but it was slightly easier in the recent past to make interesting movies.  I suspect audiences will not long tolerate being bored.

English: Brosnan Pierce at Cannes in 2002. (Photo credit: Wikipedia)

Artistically the 1973 sci-fi farce, Sleeper, is one of Woody Allen’s best films.  Except for the physical comedy, it’s hilarious.  Nevertheless:

Woody wants us to know 1) he is justified in his (1973) atheism, 2) sex is sort of the summum bonum in life, and 3) his movies do not always end well; sometimes the endings are flat.

In sum, I can’t say I really enjoy Sleeper.

Cover of Sleeper

M. Night Shyamalan’s Unbreakable (2000) begins auspiciously but eventually self-destructs.

It raises the question of whether a middle-aged security guard (Bruce Willis) possesses comic-book hero superpowers.  A physically fragile, slightly annoying black man (Samuel L. Jackson) believes he does.  Who this black man turns out to be—well, in truth I can’t make head or tail of who he turns out to be—constitutes one of the movie’s bothersome flaws.  Shyamalan is fond of bizarre twists but he fumbles them, as witness his The Sixth Sense.  The final beyond-the-grave stuff in that picture doesn’t come off, and neither does the Unbreakable wrap-up.  Inspired camera use arises in our man’s thrillers, but this is certainly no Hitchcock fare.

Cover of Unbreakable (Two-Disc Vista Series)