Fantasia two thousand seventeen Review: If You Only See One Scott Eastwood
Fantasia two thousand seventeen Review: If You Only See One Scott Eastwood/Rapid Cars Movie, Make It ‘Overdrive’
The Rapid & Furious franchise is presently in a downward slide after reaching the pinnacle of pop perfection with Swift Five, but that hasn’t stopped the last few from making serious coin. More power to them, but in an ideal world some of that audience goodwill would spillover to much smaller but similarly goofy activity pictures featuring swift cars, flashy locales, and… Scott Eastwood (The Fate of the Furious)?
Andrew (Eastwood) and Garrett (Freddie Thorp) are half-brothers who share more than a single parent – they also share a love of expensive automobiles. That love extends beyond simply admiring them from afar however as they also have a bad habit of stealing them for private satisfaction and the odd paycheck. Their latest score has the unintentional outcome of landing them in debt with a powerful mobster in the south of France, and as payback he tasks them with an even more elaborate theft. It’s a thicker heist than they’re used to however so the siblings build a team including their lady friends (Ana de Armas, Gaia Weiss) and a few other helping palms. Can they pull it off bad guys, cops, and more bad guys hot on their tail?
The Quick & Furious reference above may be a bit of a reach witnessing as Eastwood is only a supporting player in the most latest entry, but Overdrive‘s genre elements are the same as a family – a more consistently pallid family – come together to steal things from bad people. Director Antonio Negret and writers Michael Brandt and Derek Haas supply a stripped down take on its much thicker screen cousin, and the results are every bit as entertaining.
Brandt and Haas are no strangers to goofy activity as the writers of two Swift two Furious and Dreamed, but the risk here is that the film lacks the budget for big spectacle-like set-pieces that normally serve to divert viewers from script silliness. [cough] Prompt & Furious films [cough] That challenge pays off tho’ by being paired with Negret who manages some slick act – almost all of which is done practically – and views that never bore the senses. The landscapes, exorbitantly-priced automobiles, and certain cast members are gorgeous, and cinematographer Laurent Bares captures it all along with some arousing and incredible car pursues.
Eastwood hasn’t had the most thrilling career so far as his plain acting style continually makes him the least interesting thing onscreen, but he succeeds a bit more here with a spectacle that feels as if he’s not performing at all. That’s not a dig… he’s just exceptionally relaxed and casual and never feels like he’s attempting, and it works for the tone of the film. It’s an endlessly casual film, one where the good guys are never indeed in danger and everyone’s laughing mere moments after the bad guys’ demise. Thorp is a powerless spot, due more to his dialogue than his spectacle, but everyone else is fine and having joy. de Armas seems at very first to be stuck with a thankless “gf” role, but her gratefully character gets to shine as someone every bit as capable and certain as the boys.
The inherent silliness and lightweight feel of it all keep Overdrive from achieving more than simply being a “joy enough” rail, but some solid sleight of arm in the third act, attractive visuals, and outstanding car activity make for an pleasurable lump of entertainment. The ninety three minute run-time doesn’t hurt either.
Fantasia two thousand seventeen Review: If You Only See One Scott Eastwood
Fantasia two thousand seventeen Review: If You Only See One Scott Eastwood/Prompt Cars Movie, Make It ‘Overdrive’
The Quick & Furious franchise is presently in a downward slide after reaching the pinnacle of pop perfection with Quick Five, but that hasn’t stopped the last few from making serious coin. More power to them, but in an ideal world some of that audience goodwill would spillover to much smaller but similarly goofy activity pictures featuring rapid cars, flashy locales, and… Scott Eastwood (The Fate of the Furious)?
Andrew (Eastwood) and Garrett (Freddie Thorp) are half-brothers who share more than a single parent – they also share a love of expensive automobiles. That love extends beyond simply admiring them from afar however as they also have a bad habit of stealing them for individual satisfaction and the odd paycheck. Their latest score has the unintentional outcome of landing them in debt with a powerful mobster in the south of France, and as payback he tasks them with an even more elaborate theft. It’s a fatter heist than they’re used to however so the siblings build a team including their lady friends (Ana de Armas, Gaia Weiss) and a few other helping forearms. Can they pull it off bad guys, cops, and more bad guys hot on their tail?
The Quick & Furious reference above may be a bit of a reach witnessing as Eastwood is only a supporting player in the most latest entry, but Overdrive‘s genre elements are the same as a family – a more consistently pallid family – come together to steal things from bad people. Director Antonio Negret and writers Michael Brandt and Derek Haas supply a stripped down take on its much fatter screen cousin, and the results are every bit as entertaining.
Brandt and Haas are no strangers to goofy activity as the writers of two Quick two Furious and Dreamed, but the risk here is that the film lacks the budget for big spectacle-like set-pieces that normally serve to divert viewers from script silliness. [cough] Quick & Furious films [cough] That challenge pays off tho’ by being paired with Negret who manages some slick act – almost all of which is done practically – and views that never bore the senses. The landscapes, exorbitantly-priced automobiles, and certain cast members are gorgeous, and cinematographer Laurent Bares captures it all along with some arousing and awesome car pursues.
Eastwood hasn’t had the most thrilling career so far as his plain acting style continually makes him the least interesting thing onscreen, but he succeeds a bit more here with a spectacle that feels as if he’s not performing at all. That’s not a dig… he’s just amazingly relaxed and casual and never feels like he’s attempting, and it works for the tone of the film. It’s an endlessly casual film, one where the good guys are never truly in danger and everyone’s laughing mere moments after the bad guys’ demise. Thorp is a feeble spot, due more to his dialogue than his spectacle, but everyone else is fine and having joy. de Armas seems at very first to be stuck with a thankless “gf” role, but her gratefully character gets to shine as someone every bit as capable and certain as the boys.
The inherent silliness and lightweight feel of it all keep Overdrive from achieving more than simply being a “joy enough” rail, but some solid sleight of arm in the third act, attractive visuals, and extraordinaire car activity make for an pleasurable chunk of entertainment. The ninety three minute run-time doesn’t hurt either.
