Slick, Poignant

Conspicuously African-American to a fault, with poorly placed beer product placements, and with a poignant send-off to the cornerstone Paul Walker, (Fast and) Furious 7 keeps the franchise alive and well through the level of SFX and make-believe that is only possible of Hollywood. A sliver of a storyline, that is totally overshadowed by science-defying stunts, the highlights of which appear to be driving off buildings and cliffs without terminal impacts to man or machine. This one holds it together – suspend all pretension to belief, and just enjoy

14/20

Race It

Wanted fugitives Dominic (Vin Diesel) and Brian (Paul Walker) get a new lease of life as they are asked by Agent Luke Hobbs (Dwayne Johnson) to take out a criminal organization led by Owen (Luke Evans) in exchange for clearing their criminal records. Its time for showdown in (mainly) London – with fast cars and a bevy of beauties – including Mia (Jordana Brwester), an estranged Letty (Michelle Rodriguez – permanent female Hispanic lead action fixture), Gisele (Gal Gadot) and the turncoat Riley (Gina Carano). Spellbinding (though logically and scientifically inexplicable) action sequences and engaging car chase scenes – watched this one in a paid preview – yes, was on fast forward, much like everything else in Fast & Furious 6. Not to forget, the movie ends with a cameo by Jason Statham (no less) in Tokyo – the promise of much more to come

13.5/20

The Siege of LA

Yes, (at the time of writing), it’s in the multiplex and yes you will not go wrong on this one! So this is another alien invasion, and the aliens have taken over Los Angeles. Battle Los Angeles swings between Skyline-style terrifying, to Independence Day style melodrama, and lots of action in between. Where the movie does not go wrong are the Black Hawk Down-meets The Hurt Locker style urban battle sequences. With Ssgt. Michael Nantz (Aaron Eckhart) well-supported by his multi-ethnic company including the spunky action heroine Elena Santos (Michelle Rodriguez), this movie will keep you occupied with excellent action cuts interspersed by reasonably convincing stock-taking on the futility of it all, and other similar clichés

13.5/20

Avatar = Reincarnation or Recycling?

Avatar does not seem to be a movie that is suited to the Indian cynic as audience. What of Ehwa (Gaia?) in a distant planet, an indigenous people with lifestyle and roots in the bounty of nature around them, their inevitable conflict with the human race and its endless quest for resources – this is all schmuck, says the Indian audience. And I cannot help but agree to some extent. There is a been-there done that aura about the movie – whether it echoes the indigenous tribes and fragile ecosystem of the Brazilian (and a dozen other) rainforests, or whether the unlimited greed for mineral resources brings to mind America’s global warmongering in search of oil, it seems that the core of the movie is drawn around a rehash of all-too-familiar elements and the fact that these elements are of course finding increasing resonance in an increasingly aware world does not take away from the fact that the core of the movie is somewhat unimaginative. But what is undeniable is the sheer quality of the graphics and the overall cinematography – the attention to detail and the sheer quality and complexity of the visual imagery bring to mind Jurassic Park – another genre-defining milestone in the use of technology by Hollywood. This is a movie that is likely to be a resounding commercial success in the short to medium term, but on a more measured inspection both critics and the junta may find it wanting

12/20