The problem with prequels is that you already know what you’re getting, because you already know what’s going to happen to certain characters within the canon, so, “Solo” doesn’t pack much surprises. I will say though for arguably safe genre entertainment, it’s exciting and also delivers some well timed twists within its narrative. After the much ballyhooed problems during the making of the film, “Solo” ends up being a surprisingly competent popcorn movie that keeps a brisk pace, and channels the original tone of the episodes IV-VI better than the previous prequels/mid-quels (?).
In a neon-filled city, the pair of killers is carrying out their dark plan while a few characters meet with a sweet yet odd waitress. Her charm and behavior lead the story to open and their lives to unravel in front of the viewer’s eyes.
With the death of Paul Walker and the unstoppable ego of Vin Diesel, “The Fate of the Furious” signals a rock bottom point in the movie series that we haven’t seen since “Fast and Furious.” As the series runs on fumes, the writers and producers are working over time to introduce us to dynamic new anti-heroes, all of whom can’t make “Fate of the Furious” worth watching. Unless you’re a completionist, or a hardcore Kurt Russell fanatic, “Fate of the Furious” is a convoluted and painfully long follow up that tries very hard to fill the void Paul Walker left when he died.
A mid-30s bank employee bored with his life and how humdrum things have been for him as of late becomes involved with a bank robber as a hostage at first and subsequently as a more and more willing participant.
At this point you know what you’re getting with the “Fast and the Furious” movie series, but they also seem to be thinking of new ways to get ridiculous. While you can’t really expect realism with these movies (seriously, gravity does not exist in this world), “Fate of the Furious” reaches new heights of absurdity that it becomes comical; and not the good kind of comical, either. Where James Bond had “Die Another Day” where he surfed a tsunami on a plane door and parachute, “The Fate of the Furious” has its own “jump the shark” moment. But this one involves a missile chasing a car, and Dwayne Johnson merely leaning out of a high speed car and pushing the missile away with his hand, allowing it to divert in to the car of a bad guy. It’s that point where I realized that it’s about time for the series to come to an end.
Like many others in Los Angeles, Josh is an unpaid intern desperately trying to make it. When his boss has him go pick up a highly valuable necklace, he figures he’ll save some time and picks it up early. While the necklace is in his possession, his housemates through a party that quickly turns to a home invasion. Co-written by Jamie Marshall and Matthew L. Schaffer with Marshall also directing, the film builds a home invasion/heist story with double crosses and not one clear cut innocent character.
Johnny Depp has never been one to be defined as a comedy genius of any sort, and it’s pretty telling of that fact when the one gag he has to ride on throughout “Mortdecai” is his mustache and how it twirls. That’s basically the defining comedic element of Mortdecai. He’s painfully proud of his mustache despite the obvious disgust by his loving wife, and he takes great pride of flashing it around. He even gleams proudly when he finds himself in America packed in to an elevator with men donning mustaches and beards of their own. That’s what counts as comedy in the painfully unfunny “Mortdecai.”