fastandthefurious-tokyodrift

AC/AL/V 2006 104m English

CAST: Lucas Black, Bow Wow, Brian Tee, Sung Kang, Nathalie Kelley and JJ Sonny Chiba

CREDITS: Director: Justin Lin; Screenwriter: Chris Morgan; Producer: Neal H. Moritz; Director of Photography, Stephen F. Windon; Production Designer: Ida Random; Editors: Fred Raskin & Kelly Matsumoto; Costume Designer: Sanja Milkovic Hays; Music: Brian Tyler

THE SYNOPSIS

After getting into trouble with the law again for crashing cars, young hotshot street racer Sean Boswell (Black) is sent to live with his estranged Navy father in Tokyo, Japan. The elder Boswell has 2 rules for his son: go to school and stay away from street racing.

That all lasts about 5 minutes when Sean hooks up with fellow military brat Twinkie (Bow Wow)--who introduces his new expatriate friend to the underground and very dangerous world of “drift” racing.

Anyway, Sean inadvertently catches the eye of the very hot Neela (Kelly)--who happens to be the girlfriend of the Drift King/Yakuza, D.K. (Tee) and is challenged to a drift race. D.K.’s business partner, the cool-as-ice Han (Kang) lends Sean his car and the race is on. Of course, Sean gets his ass handed to him...and he totals the car.

As repayment for the damaged car, Han has Sean come work for him and assimilates the American into his family of racers and cronies--of which Twinkie is one of. Additionally, Han teaches Sean how to drift through the neon-drenched streets of Tokyo.

D.K., while a mean hothead, is not the boss. He answers to his Yakuza boss-uncle Kamata (the very cool Sonny Chiba)--who informs his nephew of Han’s nefarious schemes to rip them off. D.K. forces Han into a fatal car crash and chases after Sean and Neela--who have grown quite attracted to each other.

To put an end to the violence, Sean and his crew approach Kamata himself with the money Han laundered and a way to save face: a drift race against D.K. for their safety and Neela’s emancipation. The race goes on and there can only be one winner in the end. Guess who comes out on top?

THE CRITIQUE

You’ve gotta hand it to Universal; they are the proud owners of another viable action series that keeps making bucks. After the resounding success of the previous 2 films ($443+ million worldwide), you can bet your sweet Corvette that this one will be adhering to the laws of diminishing returns.

However, THE FAST AND THE FURIOUS: TOKYO DRIFT--budgeted around $40 million--should easily recoup its budget domestically and abroad. Let’s just hope that the youth of the world don’t all run out and become “drfiters!” For those of us in the know (and only because I have seen the movie), “Drifting” is, to quote the press notes:

This distinctly Japanese style of driving that defines a new type of driver whose technique must blend effortlessly with daring speed, where control in the realm of no control is more important than crossing the finish line first.

Got that? Good...

As for the movie: the cast is acceptable, but without a Vin Diesel or even Paul Walker, there is no star wattage to speak of. TOKYO DRIFT’s protagonist, played by up-and-comer Lucas Black is a pleasant enough chap--but his Southern aw-shucks accent drives me a bit crazy (no offense to all you Confederates out there).

Better in his role is Chinese actor Sung Kang as the doomed hood-cum-drifter mentor Han (a Justin Lin veteran from the helmer’s first picture Better Luck Tomorrow). I also dug Bow Wow and especially hot newcomer Nathalie Kelley as the object of desire. Yummy.

Oh yes, gotta throw out a you go boy!! to one of my favorite martial arts actors, Sony Chiba--for his small-but pivotal role as the Yakuza Godfather. It’s nice to see him back on the big screen after 2003’s Kill Bill, Vol. 1.

Behind the camera, director Justin Lin does a better job here than in his last picture Annapolis--but I blame that more on the pedestrian script than on his helming. The script here (by Cellular scribe Chris Morgan) is no great shakes, but follows the tried-and-true formula of connect-the-dots screenwriting, Under the circumstances, it is passable.

Much better is the glossy widescreen lensing, courtesy of Aussie cinematographer Stephen F. Windon (2005’s House Of Wax/Deep Blue Sea/The Postman). The awesome Tokyo locations really come alive through the cinematography. Kudos, dude...kudos!

Other tech credits are solid, especially the crisp cutting by Better Luck Tomorrow & Annapolis editor Fred Raskin and Van Helsing editor Kelly Matsumoto. I also liked the flashy and kaleidoscopic symphony of cars that were featured in the movie--and this coming from a guy who is definitely NOT a car freak.

THE BOTTOM LINE

A decent entry in the mind-bogglingly successful action series. Don’t expect deep thoughts here--just go with it. As aforementioned, real Tokyo locations and plenty of melodrama nudges this one in the right direction. Give it a shot, but be prepared to be taken for a ride...