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"Mindless entertainment": that's a phrase that will be repeated often enough in association with Fast & Furious 6, which exists purely to showcase how idiotically over-the-top action sequences can become when annoyances like gravity are tossed to t...

Speed, adrenaline, and a distinct lack of intelligence - those are characteristics that could easily be ascribed to street racing, an underground sports phenomenon that keeps the police busy in some communities. The same adjectives can be used to ...

Optimism springs eternal. I went to the third Fast and the Furious movie with the deeply held conviction that it had to be better than 2 Fast 2 Furious (or whatever that misbegotten turd of a second movie was called). I was right, but "better" do...

Ever since Justin Lin took control of The Fast and the Furious franchise with installment #3, he has pushed things in new and sometimes daring directions. With Fast Five, he not only melds balls-to-the-wall comic book action with heist movie dynam...

Because Fast Times at Ridgemont High arrived in movie theaters during the height of the '80s "teenspoitation" era, it has often been unfairly lumped together with Porky's and its successors and copycats. In reality, Fast Times is smarter and more per...

Despite boasting a healthy 141-minute running time, Fast X is not a complete movie. It has a beginning and a middle but no end. Assured that audiences will return like lemmings for future installments of the Fast/Furious series, the filmmakers see...

What has been true for the past few Fast and Furious outings is even more true for this one: the films have devolved from street racing-centered action/crime thrillers into live action cartoons. Plot and character development are irrelevant. Ac...

It's too bad the title The Good, the Bad, and the Ugly was already taken, because it would have been the perfect moniker for Fear and Loathing in Las Vegas, Terry Gilliam's adaptation of Hunter S. Thompson's book (emphasis on "the bad and the ugly"...

Feast of July, which arrives under the Merchant/Ivory umbrella (Ismail Merchant having served as executive producer), is much like a big screen version of a double-length Masterpiece Theater episode. By turns tragic and beautiful, but always atmos...

On reason behind the so-called “whitewashing” of the 2016 Oscars was too few roles of substance in major productions for actors of color. This year’s roster of awards contenders has taken substantial steps to address this issue. Now...