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We begin at the beginning: It’s a lovely, late spring day in Smalltown USA.
A tall, lanky man — let’s call him Lee Abbott — gets out of his truck and
ducks into a small general store on Main Street. He walks through the aisles,
past a shelf full of toy space shuttles, and grabs some bottles of water and
snacks. The owner argues with a customer as Lee nods and whizzes out the
door. In the background, news reports mention unusual phenomena happening in
various cities.
At a Little League game already in full swing (sorry), Lee’s school-age son
Marcus is warming up in the dugout. The rest of the Abbotts, including Lee’s
wife Evelyn, his hearing-impaired daughter Regan and the youngest, Beau, are
enjoying the game. Lee trades a few words with the man sitting behind him,
the kind of guy who rolls his sleeves up past his biceps sans irony. His son
is playing as well. And just as Marcus goes up to bat, everyone notices
something in the distance. Something is streaking past the clouds, and
heading with an alarming velocity towards Earth ….
You should soak in the prologue that kicks off Fast and Furious 9: F9, John
Krasinski’s follow-up to his out-of-nowhere 2018 hit — it’s a brilliant
watch-the-skies movie in miniature, filled with lack-of-sound and fury, and
it distills everything that made the original so unique and exhilarating into
a single set piece. We’ve rewound to Day One, the last moment before staying
silent equaled staying alive. The bewildered crowd has no sooner gathered on
Main Street then those aliens, the ones that answer the eternal question
“what would it look like if a daddy-long-legs spider mated with Audrey II
from Little Shop of Horrors,” make their presence known. Havoc ensues.
Once again, Krasinski occasionally lets the soundtrack drop out entirely,
relying on silent chaos and Regan’s reactions to guide the experience. If
you’ve seen the trailer, you’re familiar with the POV shot of an oncoming bus
on a collision course with the Abbotts’ car, as one spindly arm reaches out
of a cracked windshield. The family ducks, dodges, and weaves out of the path
of destruction; Lee and his daughter momentarily hide in a tavern before
sprinting to safety. Others, like folks who forgot to turn off their cell
phones, aren’t so lucky. Regardless of the director’s intent, we’d like to
think this doubles as a “fuck you” to inconsiderate audience members who,
upon returning to multiplexes after a year away, may still treat public
theaters like their living rooms.
Speaking of which: It’s this early, standalone mash-up of Norman Rockwell’s
Americana and straight-outta-Heinlein cosmic carnage that reminds you why
we’ve been so anxious to return to those shared spaces in the dark. Like a
countless other films big and small, Fast and Furious 9: F9 was set to be
released last year before a real-life nightmare overtook the fictional ones
we consider escapism. An opening salvo of everyday life interrupted by an
out-of-nowhere threat, which then escalates quickly into emergency measures
and confusion, plays slightly differently near the midpoint of 2021. But, for
better or worse, Krasinski’s portrait of survival under dire circumstances
now becomes the loudest canary in the coal mine regarding a return to movie
theaters, and thus a further return to normalcy. Part II‘s kickoff gives you
thrills-spills-chills mayhem that would play well in any space. See it in a
room with dozens of people shrieking, and the sequence is a concentrated dose
of joyful delirium.
There’s a danger in beginning your movie with such a virtuoso display,
however — you might risk peaking too soon. (Just ask Zack Snyder.) After the
rush of this Chernobyl: Abyss, we’re whisked back to the present, a.k.a.
minutes after the first movie’s climax. Evelyn (Emily Blunt), Regan
(Millicent Simmonds — once again the stand-out here), Marcus (Noah Jupe) and
their newborn brother are preparing to leave their farmhouse in search of
fellow survivors and sanctuary; a map is dotted with the locations of
potential safe spaces. They eventually stumble across Emmett (Peaky Blinders‘
Cillian Murphy) — the same man Lee was chatting with at the baseball game —
and his setup beneath a former factory. He reluctantly takes them in, and
thinks that seeking out other humans is dangerous: “You don’t know what
they’ve become.” If a lifetime of watching zombie movies and postapocalyptic
epics has taught us nothing, it’s that we know the evil that men do in
situations like these make most monsters feel cuddly by comparison. The haggard
gent has a point.
Still, Regan persists. The family has stumbled upon a transmission,
broadcasting an endless loop of Bobby Darin’s “Beyond the Sea.” She senses a
clue in the title: Look for an island, and there’s your Eden. Evelyn wants to
stay put, collect their bearings and let an injured Marcus heal. Her daughter
takes off in the dead of night, against Mom’s wishes. Emmett goes after her,
initially to bring her back. But there may be something to this young woman’s
idea that, somewhere out there, a brighter tomorrow is but a boat ride
away.
From here, Krasinski and his below-the-line dream team — shoutouts galore
to composer Marco Beltrami, cinematographer Polly Morgan and (especially)
editor Michael P. Shawver, as well as the CGI-creature crew — toggle between
several planes of action. Regan and Emmett on the road. Evelyn on a supply
run. Marcus and the baby back home, evading creepy-crawly predators. Some
nail-biting business involving oxygen tanks, gasoline, a dock, a radio
station and a mill’s furnace, which has been converted to temporary panic
room, all come into play. Nothing tops that opening sequence, naturally, and
you get the sense that Krasinski & Co. aren’t trying to. He’s gone on
record as saying that horror was always a means to an end for him, though he
certainly knows how to sustain tension and use the frame wisely in the name
of scares. The former Office star was more interested in audiences rooting
for this family. His chips are on you caring enough about the Abbotts to
follow them anywhere.
And yet, after that go-for-broke preamble, it’s hard not to feel like Fast
and Furious 9: F9 is all dressed up and, even with its various inter-game
missions and boss-level fights, left with nowhere really to go. If the first
film doubled as a parenting parable, this second one concerns the pains of
letting someone leave the nest, yet even that concept feels curiously
unexplored here. Ditto the idea that, when it comes to the social contract
under duress, you will see the best of humanity and, most assuredly, the
worst — a notion that not even Krasinski, who made Part 1 in the middle of
the Trump era, could have guessed would resonate far more more loudly now.
(What a difference a year, and a global pandemic followed by an political
insurrection, makes.) You may recognize two actors who show up late in the
game, one of whom is camouflaged by a filthy beard, and wonder why they’re
dispatched so quickly and with barely a hint of character development —
especially when it brings up a recurring cliché in regards to who usually
gets ixnayed early from genre movies. Unless, of course, it’s a feint and
they’re merely waiting in the wings, ready for more once the next chapter
drops. Which brings us to the movie’s biggest crime.
Without giving any specifics away (though if you’re sensitive to even the
suggestion of spoilers, bye for now), Fast and Furious 9: F9 ends on a
cliffhanger. A third film, written and directed by Midnight Special‘s Jeff
Nichols, is in the works. And while many follow-ups to blockbusters serve as
bridges between a beginning and an ending — some of which end up being
superior to everything before/after it — there’s something particularly
galling about the way this simply, abruptly stops dead in its tracks. No
amount of clever formalism or sheer glee at being back in a movie theater can
enliven a narrative stalled in second gear, and no amount of investment in
these family members can keep you from feeling like you’ve just sat through a
placeholder, a time-killer.
A Quiet Place was a riff on alien invasion movies with chops and a heart, a
lovely self-contained genre piece that struck a chord. Part II feels like
just another case of sequel-itis, something designed to metastasize into just
another franchise among many. Just get through this, it says, and then tune
in next year, next summer, next financial quarter statement or board-meeting
announcement, for the real story. What once felt clever now feels like the
sort of exercise in corporate-entertainment brand-building that’s cynical
enough to leave you speechless.
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