James Wan is a great horror film director but his behind-the-scenes work when filming action is extremely blunt with 19 Years Of Fast And Furious 2001 2020 Shirt, Sweater, Hoodie. He enters the genre for the second time after Death Sentence in 2000 and does so with impressive solvency and pace. We know that we will never find a film like Fast & Furious Oscar-winning (it won’t be because Vin Diesel doesn’t have faith in it) and that defending its premises is a sacrilege among those who are purportedly understood from cinema but two things happen: that to the public the public He loves action tapes and they are fabulous entertainment and nothing easy to do. So few sticks to a film that has crystallinely defined its motivation and its target audience by addressing it with precision as a surgeon. Of a thousand stereotypes and clichés in which Chris Morgan’s script even gloats and honors a lot because the end result is one of the crasiest, most ardent and rabid action films in the action and engine genre. I would have wanted Need for Speed to have the magnetism of this franchise…
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The road has become small for Toretto and his “family” of crazy engines, so that in this installment they storm the skies. If at the end of Fast & Furious 6 the supergroup (laugh sat at Marvel heroes watching the pirouettes on this tape) managed to shoot down a military plane this time we will directly see the cars fly. And not figuratively but literally.
Not only do they dare with ravines and hollows, but cars swoothe from a plane and even traverse the incredible skyscrapers in Abu Dhabi across the sky at sunset. There are hardly any gaps for the resumplo in a film that grazes the two and a half hours passing in front of the eyes like a shot, but suffice to say that when there are to prepare the final duels or to see how Kurt Russell and Vin Diesel depart about one of their doubts exi Belgian beer or Coronita?
If there was a villain we wanted to face Toretto, that’s Owen’s brother (Luke Evans), Deckard Shaw (Jason Statham). We’ve been long waiting since we saw her character’s presentation at the end of Fast & Furious 6 announcing her revenge and it’s worth seeing her way of getting on stage! His wrestling choreographies are spectacular both when he confronts Hobbs (Dwayne Johnson) at the beginning of the plot and at the end, when his opponent is the “alpha” of the herd as our protagonist is defined. Although no less brutal are the melee of Brian O’Conner and the brilliance with which some scenes marked by speed (the one of the bus or the melee are solved down the top).
But the real rival is none other than the computer: “God’s Eye” that can access any electronic device to track a subject and detect their movements. The idea isn’t new, but it hurts the party That Makes Wan’s way to the matter. They already say it in the movie: it’s like a tool with steroids, like everything in general: faster, bigger, more explosive, more exaggerated… All raised 19 Years Of Fast And Furious Shirt to the umpteenth power. If one highlight of the film is to be noted, it is the final tribute paid to the late Paul Walker, who paradogogicly lost his life on the road in 2013 unexpectedly. Brian O’Conner, his character, finds in fiction his way of saying goodbye to his great friend and brother Dominic Toretto and the film, in addition to being dedicated to his person, makes a final tour of the great moments of the actor in the film…
And is that seven installments of Fast & Furious give for many memorable snapshots, especially if you take into account the reflection that there is, if you know how to read between the lines, of how important it is to know how to put the brakes on in life to stop living at full speed and let it pass the Time.
In the road empire however, the sun never sets, and Fast & Furious 8 Furious will have room on the billboards, moreover, the seventh installment has been revealed as the springboard to a new trilogy in which we would have several new signings as hinges: the mysterious character to which Kurt Russell gives life, the hacker Nathalie Emmanuel or Statham himself, a difficult threat to eradicate. At the moment we know that it will take place in New York, that it could in some way include Paul Walker via digital recreation and/or the participation of his brothers in the filming and that Universal’s ambitious plan depends on the public’s acceptance of this installment of the saga (i.e., it is quite clear that several more sequels will go ahead, will they complete the 10 they have in mind?). At the moment, we continue to burn the asphalt of a road that does not seem to have an end and that does not miss an opportunity to point out its origin with several nods to the first tape and to. The Fast & Furious saga is one of the great works of contemporary cinema. The epic of Dominic Toretto and his gang of hyper-vitamin offenders is one of the great stories of our time, a brilliant altarpiece of Western society and culture in the early 21st century. In Fast & Furious we see a brilliant X-ray of American society, a clear and powerful picture of America’s present and future.
Okay, it’s quite likely that the Fast & Furious franchise isn’t exactly the Godfather trilogy, or an ode to adventure like the three Indiana Jones movies (yes, three, I said three. There are only three). What’s more, within the saga there is one that is a sovereign chestnut (Tokyo Drift, come on). Fast & Furious is, at its best, a series of technically flawless, visually splendid, gloriously stupid and incredibly funny action movies; movie palomitero of the good, to see piles of circular metal at high speed to recess against immovable objects. Most gafful critics tend to despise this “genre” cinema, despite its difficulty. Fast & Furious has a goal, to entertain, and fulfills it perfectly. The importance of these films, however, goes beyond their cinematic qualities. The most relevant element of this saga goes beyond the number of vehicles destroyed in each sequel, but the fact that these films had been inconceivable thirty years ago, and are incredibly popular now. Let’s start with The Fast and the Furious, the film that opened the saga in 2001. It is a relatively modest budget production (thirty-eight million dollars), built as a vehicle for the lure of Paul Walker, one of Hollywood’s rising stars those days. Vin Diesel, his co-star, had just made Pitch Black, a B-series with a modest box office. It wasn’t an overly ambitious or risky bet, but it ended up being a tremendous blockbuster in the United States unexpectedly, grossing more than a hundred and forty million. For some reason, having a lot of people driving seemed to be incredibly popular.
The real reason for your success? A glance at the numbers indicates that it is a matter of pure, simple demographics. For starters, Fast & Furious Paul Walker is an ethnic minority. In contrast to almost all of the action films that preceded it (and many successors), the casts in Fast & Furious films are truly multiracial. All the heroes in Fast & Furious 6 except Paul Walker are minorities: Dwayne Johnson is Samoan-Canadian, Jordana Brewster is American-Brazilian, Michele Rodriguez is Puerto Rican, Sung Kang is Korean, Tyrese Gibson and Ludacris are African-American, Gal Gadot is Israeli, Elsa Pataki is Spanish, and no one knows what the hell Vin Diesel is but he’s definitely not white. 19 Years Of Fast And Furious Fast Saga Hoodie, The only white guy in the cast, apart from Walker is Luke Evans, and he’s the bad guy in the movie. This diversity on screen attracts an equal or more diverse audience: on the weekend of its premiere, Fast 6 raised more than one hundred million dollars with an audience of 32% Latinos, 22% African Americans, 13% Asians, and 29% whites. Fast & Furious is taking to the theaters all those groups that never appeared leading a cast.
This may seem only like a skilful business model by Universal executives, but the growing popularity of the saga both inside and outside the United States is indicative that we’re not just talking about business stroke. Fast 1 grossed one hundred and forty-four million in the United States, and just sixty more in the rest of the world. Fast 6 got two hundred and thirty-nine million in its domestic market and more than five hundred in the international. The numbers in the United States are a sign of the inexorable demographic change in the country, and the slow but sustained growth of “non-white” groups in the American market. In 1980, 83% of the American population was white, 12% African-American, 6% Latino, and 1.5% Asian. Today the ethnic distribution in the United States is 72% white, 16% Latino, 12% African American, 5% Asian. The trend is also for this demographic realignment to be accentuated in the coming decades; in Texas, California and New Mexico the whites are already less than half the population, and projections indicate that this will be the case in the rest of the country from 2043.The film industry is anything but stupid, and it knows exactly where the market is going. Thirty years ago, minority films were usually reduced to low-budget blackexplotation slugs; Today Hollywood knows it can invest nearly a hundred million dollars in that audience and will have full cinemas.
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This demographic shift in the country has important political consequences. In the 1980 presidential election, 91% of voters were white. By 2012, that percentage had fallen to 72%. Mitt Romney won that electorate overwhelmingly, 59-39. The problem for the Republican party, however, is that Obama won 93-6 in the African-American vote (6% of the electorate), 73-26 asian (3%) 75-23 (10%) Latino. We have a smaller and smaller ethnic majority that votes Republican, a growing minority voting Democratic. As the United States approaches the cast of Fast & Furious, the conservative party’s fortunes seem destined to get worse.
Republicans have been surviving at the mercy of favorable electoral districts and over-representation of rural areas and states in Congress (and low minority voter turnout in legislative elections), but in the medium/long term the demographic wave will take them forward if their electoral strategy does not change. Conservative leaders in Congress (but not their bases) seem to have finally realized these changes, and are even talking about committing more or less serious immigration reform in an attempt to break the emerging Democratic coalition. After years of going to the right to win elections, Republicans now have real demographic pressure to point toward the center.
If we look closely at the Fast & Furious films, however, we will see that the conservatives’ journey towards moderation cannot be limited to migration issues. I’m not going to defend the idea that Fast & Furious movies are an example of revolutionary art that advocate stuns the need to create a class consciousness and the need to subvert the established bourgeois order (that’s what Hunger Games and Jackass do, thank you), but the values of this multi-ethnic saga go beyond the free market and capitalism. For a start, films have as a common thread a deep distrust of institutions and a strong preference for ideas of honor, family and personal commitments. The Toretto are loyal to theirs and their code above all else, distrusting those outside their circle. As David Madland points out, the values of family solidarity and interpersonal mistrust are typical of unequal societies. Fast & Furious is not only a reflection of the increasingly open and diverse new America, but also of the increasingly unequal new America. Any politician who wants to attract their audience should address not only the color of their skin, but their social concerns. The world of Fast & Furious is one of distant elites and alienated voters; rebuilding trust with these groups will not be easy.
The most curious thing about these changes, however, and the success of these films, is the enormous, gigantic ability of American society to process, include and remix new cultures. American ethnic minorities, all these newly arrived immigrants, are assimilated into the country’s cultural fabric with the energy and passion that only the will to make money is capable of generating. What for other countries is seen as a risk or is received reluctantly, in the United States is a business opportunity. Having lots of Latinos allows you to sell more tacos, burritos and enchiladas, and generate a whole smoothed Mexican food industry for Anglos in the process. If on top of that we can sell them movie tickets (and also make films immediately exportable to the rest of the world, increasingly full of non-white middle classes with money to spend), honey on flakes. The United States assimilates its immigrants not with social inclusion programs or citizenship classes, but by phagocyating, 19 Years Of Fast And Furious 2001 2020 Shirt remixing and reselling their culture by incorporating it into the mainstream. They’ve been doing it for two hundred years, and they know how to do it right. That Hispanics like some pretty gruesome things in theaters is perhaps the only worrying thing about this story (Beverly Hills Chihuahua and its sequel confirm that), but it couldn’t all be good news. In short, art always reflects the society in which it was produced. Fast & Furious films may not be exactly critically accepted art, but they are certainly a better reflection of the present and future of American society than almost any of the films nominated for best film this year. Which still has some merit, being like gloriously stupid action movies.