Everything we know about the making of Furious Seven — especially the tragedy of star Paul Walker’s death during production — informs our experience of the movie. It takes on an inadvertent subtext of fragility in the face of the world’s chaos, and that’s a pretty loud and dissonant ghost to be haunting the attic of such a goofily over-the-top blockbuster. Every action scene, every daredevil set piece involving Paul Walker, especially as the film moves past the hour mark, takes us out of the narrative as we ask ourselves, Is this it? Is this how they kill off Walker’s character? There’s a moment when his onscreen avatar, Brian O’Conner, seems to sacrifice himself so that someone else can live; the moment doesn’t last long, and it may, for all I know, have been part of the script even before Walker died, but it still resonates in a way that throws the movie’s high-flying escapist tone out of whack.
The plot is idiotic even by the standards of the Fast and Furious franchise. It has to do with Deckard Shaw (Jason Statham), the vengeful brother of the previous film’s villain. His motive is simply to kill everyone responsible for putting his bro in the hospital, including Brian, Dom (Vin Diesel), Letty (Michelle Rodriguez), Hobbs (Dwayne Johnson), Roman (Tyrese Gibson), and Tej (Chris “Ludacris” Bridges). That makes six, and a hacker named Ramsey (Nathalie Emmanuel) fills out the furious seven (which is how the title appears onscreen, contradicting the marketing, which calls the film Furious 7). Ramsey has a surveillance thing called God’s Eye that can track down Shaw. A government bigwig calling himself Mr. Nobody (Kurt Russell) tells Dom he can borrow God’s Eye if he rescues Ramsey from a cadre of terrorists. Also, Iggy Azalea shows up. I laughed at that bit, figuring that in twenty years or so, a random viewer of Furious Seven will wonder who the blond woman is who talks to Michelle Rodriguez.
Otherwise, the movie’s appeal is sort of timeless, relying on outlandish stunts as well as prolonged fight scenes that would realistically put both parties in the hospital after thirty seconds. The skydiving-cars sequence has already attained action-flick legend status, though comparing the ensuing car chase to the truck chase in Raiders of the Lost Ark, as at least one critic has done, is just silliness. The presence of Kurt Russell reminded me unhelpfully of the dazzling climactic chase in Quentin Tarantino’s otherwise dull Death Proof, a chase done without computer enhancement of any kind. Here, so much trickery is used, including the digital recreation of Paul Walker in scenes he didn’t live to film, there aren’t any physical stakes. The increasing gigantism of this series has made it more 007-like, and changed it in a significant way from what it started out as — a B-movie in-name-only remake of a ’50s Roger Corman production — but has drained the action of credibility.
Jason Statham gets into fights with Dwayne Johnson and Vin Diesel; Paul Walker dukes it out with Tony Jaa; Michelle Rodriguez and Ronda Rousey, each wearing fabulous dresses, wreck the dresses and each other. These bouts, though also physically dubious, pack more entertainment value than the overamped car vrooming and explosions and drones firing missiles all over L.A. Maybe it’s because we know two actual people — maybe two actual stunt people in most cases, but so what? — did actual training and actual rehearsals to perform the fights in actual space. It’s the sort of thing a filmmaker can stage anywhere, and doesn’t need to jet off to Abu Dhabi and destroy three skyscrapers and spend, in total, in the neighborhood of $250 million. I will say, though, that the franchise’s way of bidding adieu to Paul Walker is tastefully, even touchingly achieved. Well done. A simple overhead shot of two cars counts for more than half a dozen cars (mostly real, I learn, but who can tell?) plummeting out of an airplane. It’s what fans of the series will remember from this film, as they should.