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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 Old, 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
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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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