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Has the Fast & Furious franchise earned a victory lap? That’s the key question behind an appraisal of “Fast X,” a film that brazenly plays like a Greatest Hits collection from a hit artist. Not only does it directly link to the massive, franchise-turning “ Fast Five ” in its narrative, but it constantly recalls other films in this series either through direct mention or action beats designed to recall similar moments in movies like “ Fast & Furious 6 ,” “ Furious 7 ,” and “ The Fate of the Furious .” The script by Dan Mazeau and "Fast Five" director  Justin Lin (who left the film after creative differences and whose absence is felt in terms of action choreography) is like a snake eating its own tail, often playing like a parody of the franchise more than a new entry that cruises on its own four wheels. Even as it’s spinning through enjoyably goofy action set pieces, most of them enlivened greatly by a fun performance from Jason Momoa , there’s a desperate familiarity to all of “Fast X” that makes it even more like reheated leftovers than it has before. This is reportedly the start of a trilogy that will close the series. Let’s hope they come up with at least one fresh idea in the next two flicks.

Maybe it’s the leaden way in which director Louis Leterrier treats these beloved characters, but the opening scenes of “Fast X” are among the worst in all ten films, a cavalcade of conversations about family, legacy, and other FF tropes. It’s one thing for a character like Dom Toretto ( Vin Diesel ) to preach the importance of family, but it’s another with notes of Charlie Puth playing over gauzy shots of him looking at press stills of Paul Walker . There was an opportunity here to give us “Old Man Dom”—he is 56, after all—but it’s as if Diesel and his team have no idea what that looks like other than to make their tough guy a little wistful. There’s an odd construction to these early scenes that use the oft-parodied trope of Dom saying “family” as a constant whipping post. They diminish what these films were at their best (installments five through seven) by reducing Toretto and his gang to their most obvious qualities. No one expects great character depth at this point, but do we need so many scenes of Dom grunting "family" and looking worried when he sees his son ‘Little B’ ( Leo Abelo Perry )?

“Fast X” improves greatly when Momoa’s Dante Reyes begins his plan to torture Dom and his furious family. Roman ( Tyrese Gibson ), Tej (Ludacris), and Ramsey ( Nathalie Emmanuel ) head off to Rome on a mission, but it’s a trap designed by Reyes, the son of Hernan Reyes, who was killed when Dom and company rolled a safe through Rio in “Fast Five.” Dante says repeatedly that he doesn’t want to kill Dom; he wants him to suffer. That apparently entails an elaborate scheme to frame the gang as terrorists after a bomb explodes in the Italian capital. Following the construction of these films, at least since Vin and The Rock broke up, it’s just a way to divide the crew. Roman, Tej, Ramsey, and Han ( Sung Kang ) flee to London, where they run into Shaw ( Jason Statham ), of course. Letty ( Michelle Rodriguez ) ends up captured, and only Mr. Nobody’s daughter Tess ( Brie Larson ) and Cipher ( Charlize Theron ) can get her out. And that crowded synopsis doesn’t even include John Cena , Jordana Brewster , Daniela Melchior , Helen Mirren , Rita Moreno , or Alan Ritchson . It’s a crowded street race of a blockbuster.

And yet all of these famous faces are given so little to do. The Roman/Tej banter has never felt more tired; Moreno & Mirren each get one “supporting Dom” scene that sounds like A.I. wrote it; Cena gets trapped with Perry on an awkwardly conceived and executed road trip; only Theron and Rodriguez get to have any real fun in their subplot, fighting it out in one of the film’s best combat scenes. For the most part, “Fast X” is the Dom & Dante Show, and the film is at its most effective when it bounces Diesel & Momoa’s very different screen personas off each other. Diesel seems more stoic than ever while Momoa plays to the back row, going for flamboyant psychotic with every scene. He’s like a giant child in a superhero’s body, sticking out his tongue and gleefully hopping into chaos with a “Here we go!”

“Fast X” opens with a repurposing of one of the most famous scenes in the franchise from “Fast Five,” only inserting a de-aged Momoa into the action that fans remember. It’s almost as if that inciting idea became the creative force behind the entire film. Someone listed the best action scenes on a whiteboard and then asked how the energy of Momoa’s Dante could shift them. Sometimes it works. A drag race scene in Rio captures that more grounded energy from when the series was actually about people driving fast instead of defying physics. There’s a plane dropping a car again and harpoons with wires on the end. Even when the goofy action is working, it’s hard to shake the sense that all of “Fast X” is an echo of something you’ve seen before, and often done better with a director who understands stunt work and action geography better than the mediocre Leterrier. It doesn’t help that “Fast X” often looks poorly rendered in CGI terms, with actors more obviously against green-screen backgrounds than before. It reduces the stakes when we're clearly watching something that’s more visual effects than stunt work.

All of this “rock band encore with new pyrotechnics” approach becomes even less forgivable because of where “Fast X” lands. Or rather doesn’t. Without spoiling, Diesel has revealed that this is the start of a franchise-ending trilogy, and that information probably leaked pre-premiere to soften the blow of a blockbuster with no ending. I’m talking “ Avengers: Infinity War ” level climax here. Characters are left presumed dead, in jeopardy, and still divided. This movie's race down memory lane goes arguably nowhere, forcing fans to wait for satisfaction. It makes “Fast X” into less of a victory lap than a loud, expensive revving of engines that haven’t even crossed the starting line. It just adds to the sense that this isn’t so much about family or fun as it is finances.

In theaters tomorrow, May 18 th .

Brian Tallerico

Brian Tallerico is the Managing Editor of RogerEbert.com, and also covers television, film, Blu-ray, and video games. He is also a writer for Vulture, The Playlist, The New York Times, and GQ, and the President of the Chicago Film Critics Association.

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Fast X (2023)

Rated PG-13

142 minutes

Vin Diesel as Dominic Toretto

Michelle Rodriguez as Letty Ortiz

Tyrese Gibson as Roman Pearce

Ludacris as Tej Parker

Jason Momoa as Dante Reyes

Nathalie Emmanuel as Ramsey

Jordana Brewster as Mia Toretto

John Cena as Jakob Toretto

Jason Statham as Deckard Shaw

Sung Kang as Han Lue

Alan Ritchson as Agent Aimes

Daniela Melchior as Isabel

Scott Eastwood as Little Nobody

Helen Mirren as Magdalene 'Queenie' Shaw

Charlize Theron as Cipher

Brie Larson as Tess

Rita Moreno as Abuelita Toretto

• Louis Leterrier

Writer (characters)

• Gary Scott Thompson

Writer (story by)

Cinematographer.

• Stephen F. Windon
• Kelly Matsumoto
• Dylan Highsmith
• Brian Tyler

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‘Fast X’ Review: Massive ‘Fast & Furious’ Endgame Explodes Into View with an Outrageous New Villain

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Relying on homages to past stunts (like Diesel’s Dom Toretto driving out of a moving plane) and surprise appearances by long lost characters, the movie lays the groundwork for a possibly three-part finale (as Diesel has indicated) . Whether it has any new tricks up its sleeve still remains to be seen, though it’s unclear if that matters to its many diehard fans. Related Stories New 360-Degree VR ‘Tuskegee Airmen’ Film Puts You in the Cockpit of a P-51 Mustang as a Whole New Way of Teaching History ‘Dune,’ ‘Rebel Moon,’ and Sydney Sweeney Made Home Viewing Success a Package Deal

Following the mantra of go ginormous or go home, “Fast X” rallies its many disparate characters against a shared enemy. (Never mind that some of the more forgettable ones would have been better left alone.) Operating on the adage that “the enemy of my enemy is my friend,” this installment brings previous rivals together to stop a demonic psychopath who will stop at nothing to teach Dom the painful lesson that he can’t save everyone.

It must be gospel in Hollywood that every leading man reveres and studies Heath Ledger’s Oscar-winning Joker performance, proven out by Jason Momoa’s outrageously flamboyant take on the aggrieved villain Dante. Often laughing maniacally at his own evil genius, Dante drives a purple car, and sports silk pants and purple nails, because: “It tones down the masculinity, which we all need these days.” This winking nod at shifting norms might be less complicated to enjoy if it wasn’t said while giving pedicures to a group of corpses. Instead, Universal is engaging in the oldest trick in the book, using flamboyance (read: queerness) to signal psychopathic supervillain. Pitted against the raging paternalism of Dom Toretto’s singular guiding purpose to protect his family at all costs, the moral edict is crystal clear.

Now 12 years old and able to sustain his own B-plot, Brian gets his own mini road movie while on the lam with Uncle Jakob (John Cena). Introduced as the tepid villain of “F9,” Dom’s long lost brother fits much more easily into the family as the good guy he was always meant to be. Tasked with keeping Brian safe, he and the kid set out on a charming little side adventure that offers a sweet diversion from the flashier antics. Cue adorable hijinks surrounding the nostalgic magic of mix tapes and lessons in swearing.

The same can’t be said for the other members of the extended family, though they certainly start things off with a bang. Running point on an operation in his namesake city Rome (a confusing choice), Roman (Tyrese Gibson) heads up the dream team of longtime favorites Tej (Ludacris), Han (Sun Kang), and recently introduced hacktivist Ramsey (Nathalie Emmanuel). But the for-hire job ends up being a trap set by Dante in order to lure Dom to come to their rescue. When a truck of what they think is computer chips ends up carrying a massive bomb, suddenly a simple heist turns into a world-saving mission.

With their old CIA contact Mr. Nobody (Kurt Russell) mysteriously in the wind, Dom and the family find themselves the target of unsympathetic new boss Aimes (Alan Ritchson). Luckily, Dom is saved by a rogue agent determined to fulfill her father’s legacy, a cheerful but competent Brie Larson as his new CIA ally Tess. Defying her shifty new meathead of a superior Aimes, Tess tracks down Letty in a remote black-ops site, reuniting her with her old pal Cipher for an epic escape and survival plan.

With Dante’s fixation on proving to Dom that family isn’t forever, motivated by his back story, it’s only natural that the climactic battle end in an epic chase for Brian’s survival. Dom has to make some sacrifices along the way, but not before yet again landing a race car from a moving plane, and driving full speed down the side of a Hoover-sized dam. The action delivers, but the film ‘s third act suffers from an excess of set-ups, cameos, and minor deaths played up as major losses. After all, they have (at least) two more to go.

Universal Pictures will release “Fast X” in theaters on Friday, May 19.

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Rent Fast X on Fandango at Home, Prime Video, Apple TV, or buy it on Fandango at Home, Prime Video, Apple TV.

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As irredeemably silly as it is satisfyingly self-aware, Fast X should rev the engines of longtime fans while leaving many newcomers in neutral.

If you like your action fast and furious, you'll have fun with Fast X .

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‘Fast X’ Review: Drivers Wanted. Again.

Twenty-two years and nine sequels in, the “Fast and Furious” franchise is finding it hard to keep the thrill alive.

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By Wesley Morris

So much has gone over the top in these “Fast and Furious” movies — stunt work and demolition, obviously; but also family trees, racing, race , plots, pates, biceps, upper backs — that it wasn’t until I saw what Jason Momoa was up to in this new installment, “Fast X,” that I realized how much the acting had stayed under the table. He swoops in to play a flamboyant terrorist named Dante Reyes. And it’s pretty clear, from the pitiful quips he’s been given and the light-loafer treatment he’s going for, that the mustache Momoa’s twirling isn’t his. It’s Rip Taylor’s.

For half a century, Taylor ran all over American TV in a hail of confetti that he threw for himself. He didn’t act. He made appearances. That’s how Momoa operates here, showing up wherever the movie needs him (on patio furniture, at the top of the Aldeadávila Dam ) in lavender and snakeskin and billowing everything, horny to blow something up. These movies have been out of good ideas since “Furious 7” eight years ago , mired in government-flavored tug-of-wars over hacking, surveillance and tech. And Momoa’s here to zhuzh things up. So along with Taylor’s mustache, Momoa twirls himself. It’s like watching an overcup oak go trick-or-treating as a Christmas tree.

And yet, even though he destroys the Spanish Steps of Rome with alacrity and purrs lines like, “I know what you’re thinking. And yes: the carpet matches the drapes,” it’s not zhuzh-y enough. Momoa is giving the Joker. But Cesar Romero’s. Of course, he’s the only person here committed to clear and present lunacy, going for post-macho chill, refashioning the quote marks around him into neck pillows.

Five movies and a dozen years ago, Dom (Vin Diesel) and the gang trashed favelas in Rio de Janeiro and killed Dante’s drug-lord father (along with scores of innocent Brazilians, but we’re not going there today). Now, with the series at the bottom of its barrel, Dante wants revenge. This means sending a giant bomb barreling toward the Vatican. He doesn’t quite pull that off, but his wish comes true to make wanted terrorists of Dom and the rest of the gang, creating a rift between them and the feds they covertly work for and spoiling the driving lessons Dom had been giving to his 8-year-old son, Brian (Leo Abelo Perry).

There are about five intersected plot lines, credited to Justin Lin and Dan Mazeau (the director Louis Leterrier replaces Lin as mayhem manager). Dom on the run; Dom’s brother, Jakob (John Cena), babysitting Brian (they’re on the run, too); some of Dom’s crew — Roman (Tyrese Gibson), Tej (Chris “Ludacris” Bridges), Han (Sung Kang) and Ramsey (Nathalie Emmanuel) — all but backpacking through Europe; Dom’s wife, Letty (Michelle Rodriguez), arrested and locked up alongside the crew’s cyberterrorist nemesis, Cipher (Charlize Theron); and the two feds, Aimes (Alan Ritchson) and Tess (Brie Larson), at odds with each other over whether to aid or apprehend the “F&F” gang. And just about every strand stems from Dante’s pique and gets left as a cliffhanger that won’t be resolved until years from now in, what, “Fast X+1”?

The best I can say about all of this is that it didn’t bore me. But this is a series that, by the time its fourth and fifth installments arrived, had merged the original movie’s casually erotic, multiethnic, omni-racial car culture with the “can’t top that” set pieces of Hollywood summer movies. It wasn’t that that fusion was never boring. It had the thrill of newness. How many times have I laughed, in awe, at what this series could do with all kinds of vehicles and the people behind them. It insisted that a universe of nonwhite folks could meet the priorities of blockbuster filmmaking and still rake up money around the globe. And it was exciting to see who they could enfold into that agenda (Dwayne Johnson, Jason Statham, Helen Mirren, Kurt Russell).

We’re talking about 22 years and nine sequels, though. Stacking the rotation with two former professional wrestlers, four Oscar winners (Rita Moreno gets jammed in here as Dom’s grandmother) plus Aquaman no longer feels like radical popular-culture inclusion. It feels both defensive and greedy: Can the Avengers top that ? From an industrial standpoint, it does expose how much less gonzo our movies are now. What other franchise would’ve had the nerve to imagine Statham as Mirren’s son? To put Diesel in Moreno’s arms, Larson’s good graces and Theron’s cross hairs?

There’s a charitable, cash-free reason nobody wants these things to end. Despite Paul Walker’s having been dead for a decade, in these movies, his character, Brian O’Conner, is still alive, still married to Dom’s sister, still a dad, still living on a beach somewhere. The opening minutes of “Fast X” reimagine the death of Dante’s daddy in “Fast 5” and therefore grant the film an excuse to reanimate Walker. It just strains credulity that Brian would be sitting idle now while his homies face extinction. But that’s an implication of what these movies are asking us to believe, that his wife, Mia (Jordana Brewster), is more down for the defense of their family than he is. So letting this series go means letting Walker go, too. But that sentimentality leaves these movies with nowhere to go but up its own annals. (Well, there is Antarctica, the funniest of the datelines here.)

Instead, we get the wrong kind of chaos. You can see it in the incoherence of the driving — and there’s not enough of that, either. Which means wasting the series’s lead actor and flame-keeper. These movies used to know what they had in Vin Diesel. Put him behind the wheel of anything, and he’s a star. The cameras in “Fast X” are too busy to truly take in all the furrowing, the glints, the scowls. He’s not much of a husband, lover, father or mastermind in these movies, but give his foot a gas pedal and suddenly the man can act. His best moments in “Fast X” involve that stuff at the Vatican. He seems to mean it. Dom’s enormous crucifix isn’t an accessory. It’s a promise. But later, when he’s pulling two charred helicopter husks behind him, Diesel’s lack of concern concerned me. The thrill is gone.

It’s not there in the sequence in which that ball-bomb eats a chunk of Rome or any of the many, many shootouts and fistfights. Not even in the brawl Rodriguez and Theron endure that should have killed both of their characters. Visually, it’s as messy as a lot of the sequences in “Fast X.” It’s hard to care about a fight you can’t follow or be bothered to suspend disbelief for. That’s the true death knell for this series: rationalism, nit-picking, disillusionment. ( Why can’t Brian come out and play? )

The series doesn’t need Momoa’s vamping. The camp was always coming from inside the garage, the way these movies operated in defiance of physics, chronology, narrative logic and DNA. Their subject was criminals conflicted about going legit. Now they’re practically a government agency, out protecting the planet — and they’re so far through the moral looking glass that everybody looks too comfortable. There’s a reason the movies’ insistence on family starts to feel laughable. It makes us feel like we’re at Olive Garden. Their dumbness made them important. Now, self-importance has made them dumb. Characters are now explaining these movies to each other — and where great, big, bronzed Aimes is concerned, man splaining them. They’re saying stuff like, “It’s like a cult with cars,” “The fallout will be existential” and “This family has gotten their hands dirty to keep ours clean.”

These movies used to know what about them was ridiculous. They’d give that to us until our hearts broke the speed limit. But I’ve already seen Diesel drive at a 90-degree angle before. The old bravado currently reeks of formula. The nerve is shot. There was a time when this series would have had Dante send a pair of balls hurtling toward the Vatican.

Fast X Rated PG-13. Running time: 2 hour 21 minutes. In theaters.

Wesley Morris is a critic at large and the co-host, with Jenna Wortham, of the culture podcast “Still Processing.” He has won two Pulitzer Prizes for criticism, including in 2021 for a set of essays that explored the intersection of race and pop culture. More about Wesley Morris

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‘fast x’ review: jason momoa makes a memorable villain in an action-stuffed franchise installment that’s for fans only.

Vin Diesel headlines a huge cast of new and familiar faces in this 10th film in the hugely successful, car-driven franchise, directed by Louis Leterrier.

By Frank Scheck

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The Fast and Furious movies may all be about fast cars, but the franchise has gotten so congested it’s a wonder they’re able to break the speed limit.

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Considering the amount of money these films have made for Universal, and the fact that the series has gone longer than many of its current viewers will have been alive, it’s hard to blame Vin Diesel and company for taking a victory lap. Or laps, as this supposed end to the franchise (please contact me about the bridge I’m selling) has recently been rumored to be the first of not two parts but three.

This edition provides more of what its fans have come to expect, and by “more” I mean “MORE.” As in: more characters, more stunts, more explosions, more chases, more locations, more everything. Thankfully, Fast X doesn’t venture into outer space, which should really be left to James Bond and Tom Cruise. The film also harkens back to its hardscrabble beginnings by featuring a mid-film racing scene between its main hero and villain for no apparent reason whatsoever. But then again, there’s always time in this cinematic universe for a totally extraneous street race.

The Fast franchise has gotten so convoluted that non-rabid fans should prepare to do serious homework before seeing this installment, directed by series newcomer Louis Leterrier ( The Transporter , Now You See Me ), who stepped in on short notice when original director Justin Lin backed out after coming to the conclusion that “this movie is not worth my mental health.”

That’s because Fast X is directly connected to that predecessor in that the main baddie in this one, Dante ( Jason Momoa ), turns out to be the son of the Brazilian drug kingpin killed by Dom Toretto (Diesel) and crew back in 2011. And don’t blame your memory if you don’t remember Momoa appearing in that elaborate chase on the bridge in that film. He’s been retconned into the footage to make it clear that Dante holds a very strong grudge over his father’s death. It seems that Dom isn’t the only one in this series who gets emotional over the loss of family members.

Momoa, it turns out, is one of the best things to ever happen to the franchise. He’s the best villain by far (not to mention that he does many of his own stunts) and thoroughly steals the film with his delightfully unhinged portrayal of Dante, who interrupts his nefarious activities to inform the ever-macho Dom that his “carpet matches the drapes.” Momoa is not exactly an actor associated with lightness, but here he practically dances the role as much as acts it, taking such frenetically gleeful delight in his character’s sadistic taunting that you practically root for him even when he threatens to destroy the Vatican. He gives the impression of having huffed nitrous oxide before every take. Dante makes the Joker look like a depressive, and he’s so damn entertaining that he lifts the series to new heights.

The core crew — including Michelle Rodriguez , Tyrese Gibson , Chris “Ludacris” Bridges, Brewster, Nathalie Emmanuel, Sung Kang, etc. — is back, except this time they’re divided into various groups scattered across the globe, the better to showcase locations including Rome, Lisbon and London, among others. (I assume the film didn’t actually shoot in Antarctica, where some scenes are set, but with this kind of money involved you never know.) Needless to say, most of these cities become the worse for wear from the experience, especially Rome, which suffers mightily as a result of an extravagant chase sequence and a massive bomb going off. With both this film and the upcoming Mission: Impossible — Dead Reckoning: Part One nearly laying the city to waste, it wouldn’t be surprising if skittish tourists avoid the Spanish Steps for a while.

Cena is another standout, displaying charm and solid comic chops in the numerous scenes in which Jakob protects Dom’s young son (Leo Abelo Perry, delivering perfectly calibrated wide-eyed stares) from Dante. This includes the pair escaping a passenger plane filled with bad guys by taking off in, what else, a smaller plane located in the cargo hold.

Twice in the film, giant lumbering objects ricochet through crowded city streets, wreaking absolute havoc in their wake. They’re perfect visual metaphors for the movies themselves, so stuffed with over-the-top mayhem and testosterone-fueled macho aggressiveness that they’ve become utterly ridiculous. What saves Fast X is that it’s so aware of its own absurdity that it becomes an entertaining parody of itself. Why else would one of the characters point out, “The real question is, How did we let this go on so long?” It seems a safe bet that this opening weekend’s grosses will provide enough of an explanation.  

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Fast X Review: Jason Momoa Is the Only One of Us Having Any Fun

The 10th installment in Vin Diesel’s supercar saga is showing signs of wear and tear.

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You may recall that the last entry in the Fast and Furious saga, 2021’s F9 , featured a sequence in which two of the Avengers our heroes—the comic foils Tyrese Gibson and Chris “Ludacris” Bridges—drove a car into outer space. There is not anything quite as wacky as that in the 10th and latest installment, Fast X , but there are still plenty of reality-defying stunts that keep this franchise from returning to Earth in any fashion that’s recognizably rooted in reality.

Still, back in F9 , one got the sense that the film was at least leaning into its sheer ridiculousness, which made it more palatable and entertaining. With one notable exception, however, Dominic Toretto’s much-discussed Family is now taking itself far too seriously. As a result, the 141-minute movie is a fairly lumbering and tedious sit.

The exception is Jason Momoa as villain Dante Reyes, who in a bit of blatant retconning turns out to be the son of drug lord Hernan Reyes (Joaquim de Almeida), defeated by Dom Toretto (Vin Diesel) and executed by Luke Hobbs (Dwayne Johnson) in Fast Five . It’s not clear why Dante has waited five movies to exact his revenge on Dom , but it seems likely that he spent at least part of that time watching The Dark Knight over and over and perfecting his Heath Ledger/Joker impersonation .

Yes, Momoa borrows heavily from that iconic performance—with a bit more sashaying and prancing – yet despite the derivative nature of his delivery, he’s terrific. It’s obvious that he’s having a blast and, as we often say, acting in his own separate movie. The same can’t be said for the rest of the Fast cast, who know exactly what movie they’re in and are starting to show signs of fatigue.

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In a bit of a twist, Fast X starts off with the now-standard cookout in Dom’s backyard, instead of ending with it. Abuelita Toretto (Rita Moreno) gives the usual homily about family. The rest of the plot is pretty simple: Momoa’s Dante wants to avenge the death of his father by not just taking out Dom but also making sure that Dom sees the rest of his family—including Letty (Michelle Rodriguez), Roman (Gibson), Tej (Bridges), Han (Sung Kang), Ramsey (Nathalie Emmanuel), Mia (Jordana Brewster), and Jakob (John Cena), along with Dom’s son Little Brian (Leo Abelo Perry)—tormented and killed first.

Dante is ready to go to extreme lengths to accomplish his mission too. The film’s first major action sequence features the crew chasing a bouncing neutron bomb through the streets of Rome where Dante’s (again, Joker-like) ability to stay three steps ahead of the crew and have traps laid out for them certainly makes Momoa the franchise’s deadliest foe yet. But there’s just one problem with all this: The beats are so familiar by now that a certain numbness sets in, and it’s also become very evident over the course of the last few movies that the stakes in the Fast franchise are virtually nil. This is an issue when the characters, while graduating over the course of the series from illegal street racers to high-tech intelligence operatives, are still supposed to be human in some way.

But no human could withstand or survive the chaotic, pulverizing destruction that is wrought upon their bodies and vehicles, let alone even accomplish it (even if it looks more computer-generated than ever). And as we’ve also seen, thanks to the return of the supposedly deceased Han in F9 , even death doesn’t keep these folks down. Hence how even a new death scene doesn’t even carry any emotional weight because it’s just as likely that the character will be back by Fast XI (supposedly the last one, although Diesel has been grunting something about a trilogy lately).

Again, this might all be much more fun if the franchise as a whole embraced its essential, absurd nature. But every time it steps in that direction, the turgid, by-the-numbers script, and especially the performance from Diesel himself, pull it back into the same endless speechifying about the family and faith and loyalty. That’s what makes Momoa’s performance so jarring. It stands apart from the rest of the film, even if Momoa’s doing a variation on the Clown Prince of Crime.

Elsewhere, most of the ensemble, aside from Diesel and Rodriguez, get shortchanged in various ways. Gibson and Bridges’ patter is stale by now while there is barely a shot in which Emmanuel isn’t chained to a laptop. Brewster is barely in the thing. As for Cena, his abrupt swerve from master assassin in the previous film to a kind of goofy uncle in this one is indicative of the real lack of attention paid to these characters as the series has gone along, although the actor does play to his comedic strengths and gets by on his sheer charisma.

The guest stars are all trotted dutifully out but given little to do. Of all of them, Charlize Theron’s Cipher perhaps fares the best while Helen Mirren, Jason Statham, and Scott Eastwood, along with newbies Brie Larson , Alan Ritchson, and Daniela Melchior , are all given a few minutes of screentime then hustled off.

As usual, Brian (the late Paul Walker) is said to be around and “safe” somewhere, but the series has really backed itself into a corner by pretending that he won’t come out to play even as his best friend Dom faces his gravest threat yet—a big, glaring elephant in the room that the franchise has utterly failed at handling.

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Aside from Momoa’s flamboyant display, Fast X borrows other elements liberally from Christopher Nolan’s Dark Knight trilogy, from the pursuit of a bomb in a truck through city streets ( The Dark Knight Rises ) to even lines of dialogue (“Oh, you wouldn’t be interested in that,” lifted right from Morgan Freeman’s mouth in Batman Begins and handed to Cena, also about a new vehicle). It’s kind of surprising that they didn’t go the well-worn “villain allows himself to be caught” route.

The aforementioned bomb chase sequence is actually quite exciting to watch for the most part, and a few of the other action sequences—as digitized and wildly impossible as they are—provide more than a few thrills, which is fairly impressive since Fast X is directed by pinch-hitter Louis Leterrier ( The Incredible Hulk ), who too over from the abruptly departed Justin Lin . Those scenes combined with Momoa’s presence provides at least some spark of life to the movie, which more or less runs out the clock and ends with a cliffhanger. It’s not a spoiler to say that; we all know that Fast XI or Furious One Short of a Dozen , or whatever it’s called, is on the way.

There’s also a short tag before the credits roll that exacerbates some of the problems we’ve discussed, as well as a mid-credits scene that many of you have heard about by now. If Vin and company aimed for their Dark Knight / Dark Knight Rises here (with a side of Avengers: Infinity War ), then surely the Fast version of Avengers: Endgame is next. But Vin, please, let’s end it there.

Fast X opens in theaters on Thursday, May 18.

2.5 out of 5

Don Kaye | @donkaye

Don Kaye is an entertainment journalist by trade and geek by natural design. Born in New York City, currently ensconced in Los Angeles, his earliest childhood memory is…

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Fast X review: Jason Momoa steals the show in an insane spectacle that rewrites the laws of gravity

No, there are no dinosaur cameos, but this 10th lap – now with added brie larson – is relentlessly fun, article bookmarked.

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The ninth Fast & Furious movie, released in 2021, bundled its gearhead heroes into a rocket car and literally shot them into space. And that, you may argue, is as far as this franchise could ever possibly go. After brushing fingertips with the cosmos, you can only realistically go down. But the greatest mistake anyone could make with these movies is to assume they have any interest in our feeble, earthborn rules. Fast & Furious isn’t merely an action series – it’s Twin Peaks if David Lynch had guzzled nitromethane before calling action.

Fast X isn’t driven by an impetus to “go bigger” but to “go more insane”. And while the crew may not visit outer space this time around – or ride dinosaurs or discover Atlantis, or any of the other wild predictions that have circulated around the internet lately – this biblically-scaled soap opera will happily rewrite the laws of gravity and physiology just to put a smile on its audience’s faces. And Fast X , in particular, is better than many of the series’s most recent instalments. It starts with a heist in Rome that involves an RC Racer, a gold Lamborghini and 12 canisters of laughing gas. A gigantic, spherical bomb then rolls, while on fire, through the city’s cobbled streets and straight towards the Vatican. It ends with the TNT-packed mother of all cliffhangers.

The plot, let’s be honest, is arbitrary. Remember back in The Fate of the Furious (2017), when Charlize Theron ’s Cipher was introduced as the ultimate baddie and most nefarious of masterminds? Well, never mind, because here she rocks up at the house of Dominic Toretto ( Vin Diesel ), his wife Letty (Michelle Rodriguez) and his son Brian (Leo Abelo Perry) with a warning that the actual ultimate baddie and most nefarious of masterminds is a guy called Dante Reyes ( Jason Momoa ). He’s the son of former Fast villain Hernan Reyes and here gets retroactively inserted into the climactic high-speed, safe-dragging car chase of Fast Five (2011). Dante’s vengeful crusade, which he apparently waited a decade to do anything about, is so all-consuming that he’ll happily go after everyone and anyone who’s been recruited into what one disgruntled authority figure describes as “a cult with cars”.

What’s borderline miraculous is that, despite a cast list that’s on track to soon reach the population size of Luxembourg, director Louis Leterrier keeps everything relatively in check. He’s taking over here from series regular Justin Lin, who departed several weeks into production, reportedly over creative differences with Diesel. It feels like the only real guidance Leterrier gave his actors was to have fun and be themselves.

Momoa is the film’s MVP by a country mile, playing Dante as an opera-warbling, knife-sucking, pink-scrunchie enthusiast. He giggles his way through the whole film. Brie Larson , as a sympathetic intelligence operative, turns up to a climactic fight wearing silver sequinned trainers and armed with a shotgun. She seems overjoyed to be playing in this particular sandbox. John Cena, miserable before as Dom’s long-lost brother, is now the goofball we know and love him to be. Theron finally gets to throw a punch. Sung Kang’s Han is actually allowed to contribute. So don’t ever say that the Fast & Furious films don’t care about their audience. This is the cinematic equivalent of ice cream for dinner.

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Dir: Louis Leterrier. Starring: Vin Diesel, Michelle Rodriguez, Jason Statham, Tyrese Gibson, Ludacris, Jason Momoa, John Cena, Jordana Brewster, Nathalie Emmanuel, Sung Kang, Brie Larson. 12A, 141 minutes.

‘Fast X’ is in cinemas from 19 May

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Fast X review: "Outrageously entertaining, entertainingly outrageous"

GamesRadar+ Verdict

The gang’s (mostly) all here for a sequel both outrageously entertaining and entertainingly outrageous.

Why you can trust GamesRadar+ Our experts review games, movies and tech over countless hours, so you can choose the best for you. Find out more about our reviews policy.

‘No one starts at the finish line’ growls Dominic Toretto (Vin Diesel) at young son Brian (Leo Abelo Perry) in this latest iteration of the Fast & Furious saga. And with nine films, one spin-off, and over 21 hours of tyre-squealing mayhem preceding it, you might well question the wisdom of making this instalment your entry point. 

In effect, though, that’s what Louis Leterrier has done by taking over the directorial reins just as the franchise heads into its final straight. And a good thing too: the Transporter / Incredible Hulk helmer brings a welcome injection of energy and inventiveness to a series that has spent eight years striving to match up to the emotional and dramatic highpoint that was 2015’s Furious 7 .

But it’s an even earlier episode – 2011’s Fast Five – that provides the spark for Fast X, as it returns to that film’s audacious Rio safe heist to reveal the hitherto unknown role played by one Dante Reyes (Jason Momoa). Turns out it was Dante’s dad that Dom robbed and he’s been hungry for vengeance ever since – something he hopes to attain by striking at the extended ‘family’ the Torettos hold so dear.

After all the muscle-bound baddies the Fasts have given us, it’s undoubtedly refreshing to see a villain as flamboyantly hirsute as Momoa’s sadistic show-off. Although some of the character’s wilder excesses do somewhat diminish the threat level in favour of OTT laughs (notably when he’s found painting the toenails of a decomposing corpse). 

Happily, the film’s on much more firm footing when alluding to its antagonists’ spiritual convictions, with Dom and the demonic Dante’s personal war going so far as to place the Vatican in peril. Indeed, it’s a central set piece involving a giant bomb rolling through Rome that gives X its most X-hilarating moments, recalling both the bouncing projectiles from The Dam Busters and the boulder chase in Raiders of the Lost Ark .

With a massive ensemble to play with and new characters to introduce, it’s inevitable that some cast members (Brie Larson’s Agency operative Tess among them) get a little shortchanged. But with Fast XI on the cards for 2025, there’s still time to shine as brightly as John Cena does here as Brian’s genially protective uncle: a retooled part that fits him far better than the nefarious one he took in 2021’s F9 .

Fast X is in UK and US cinemas on May 19.

Neil Smith is a freelance film critic who has written for several publications, including Total Film. His bylines can be found at the BBC, Film 4 Independent, Uncut Magazine, SFX Magazine, Heat Magazine, Popcorn, and more. 

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Fast X Review: Jason Momoa's Unhinged, Chaotic Villain Makes For Outrageous Entertainment

It's hard to believe that the "Fast and Furious" franchise began back in 2001 with a story centered around a criminal ring stealing electronics. In the two decades since then, the multi-billion dollar film series has turned into a global heist machine with technology that's way more advanced than a DVD player. Hell, "F9: The Fast Saga" managed to send two of the franchise's longtime characters into space. How the hell did we get here?  

The answer is "Fast Five," a sequel that reinvigorated the franchise with  the best action that the entire series had seen up until that point and the badass attitude and beefy brawn of Dwayne "The Rock" Johnson. After the film's massive blockbuster success, and adding a boost to franchises like "The Mummy" and "G.I. Joe," many referred to Johnson as "franchise Viagra," so much that there was an entire "Saturday Night Live" monologue dedicated to the perceived phenomenon. Well, if Dwayne Johnson is franchise Viagra, then "Fast X" villain Jason Momoa is pure, uncut cocaine, and the usual physics-defying, explosive action and hammy melodrama of the franchise is made even better by the chaos that he unleashes on Vin Diesel and the rest of "The Fast Saga" family. 

"Fast X" is packed with all of the unbelievable, high-octane action you've come to expect and love, but it is Jason Momoa's bad guy Dante who truly makes this a must-see blockbuster experience that turns this sequel into the "Avengers: Infinity War" of the entire franchise. Featuring echoes of "Fast Five," this flick unleashes some of the series' best action sequences alongside a show-stopping eruption of endlessly entertaining insanity from Jason Momoa. However, the ride isn't always satisfying, as some of the story's side plots (and there are many of them) don't drive as smoothly as the rest of the movie, and perhaps most importantly, the emotional core is still missing a key ingredient that has been gone since the end of "Furious 7."

Setting the table

"Fast X" actually begins in the past, providing a new perspective on the climactic heist from "Fast Five," the one that found Dom (Vin Diesel) and Brian (Paul Walker) dragging a vault loaded with cash that belongs corrupt businessman Hernan Reyes (Joaquim de Almeida) across Rio de Janeiro. That heist resulted in the death of Reyes, and as we learn in this expanded flashback, his son Dante was actually involved in the dangerous pursuit of the vault, but Dom's slick maneuvering launched him into the river, inadvertently beginning his long road to revenge.

Flash forward to the present day, and we're attending another peaceful meal between Dom Toretto (Vin Diesel) and his family. Though his sister Mia (Jordana Brewster) is in attendance, her husband Brian (Dom's ride-or-die) is again nowhere to be found. Brian doesn't even pull up late without being seen like at the end of "F9." But the late Paul Walker's presence still lingers. After a heartwarming toast by Dom's grandmother (a bit part for the legendary Rita Moreno), Dom reflects on their journey ever so briefly as the piano notes of Wiz Khalifa's "See You Again" play softly, complete with shots of publicity photos that now double as family photos. It's the only bit of genuine emotional resonance in the entire movie, which speaks to a larger problem in the sequels that have arrived in the wake of Walker's passing, but I'm getting ahead of myself.

Meanwhile, Roman (Tyrese Gibson), Tej (Ludacris), Han (Sung Kang), and more recent honorary family inductee Ramsey (Nathalie Emmanuel) are talking about a new mission that The Agency is sending them on in Rome. Coincidentally enough, it's Roman who's leading the charge, with Dom and Letty (Michelle Rodriguez) sitting this one out. After all, they have to look after Dom's son (also named Brian, played by Leo Abelo Perry) from another mother, who has already been learning to drive with Dom. Plus, it's more than implied that Dom and Letty are trying to have a child of their own. But they're about to be shoved headfirst into the danger that's yet to come. 

Suddenly, their night is interrupted when Cipher (Charlize Theron) shows up on their doorstep, looking like she's just taken a beating. But who could have shaken the villainous Cipher to her core so much that the only person she felt like she could turn to was Dom, especially after blackmailing him and threatening to kill little Brian when he was just a toddler? Enter Jason Momoa as Dante, and it's immediately clear he's the kind of villain who has done his homework and will always be one step ahead of our heroes. But this is just the beginning. 

When in Rome...

One thing leads to another, and everyone realizes that the mission in Rome isn't actually an official assignment from The Agency. Instead, it's a deadly trap set by Dante that results in a massive boulder of a bomb tearing down the hilly streets of the Italian city. Dom and Letty arrive just as the faux heist has gone off the rails, and along with Roman, Tej, Han, and Ramsey, they try to stop the bomb from detonating, or at the very least, keep it from reaching Dante's target, The Vatican. 

The entire action sequence in Rome is easily the most thrilling part of the movie, and it's one of the best action setpieces in the entire franchise. Director Louis Leterrier knows how to stage these massive sequences, and he keeps the momentum going with plenty of pieces in play. Dante spices up the usual heist formula by being an absolute madman, constantly taunting our heroes and trading blows with them in an extensive chase sequence full of total mayhem and destruction. Whether Dante is remotely controlling a truck with our heroes trapped inside like some kind of comic book villain or speeding into action himself on a motorcycle, it's clear this villain is fearless and reckless, and he's going to be the most formidable foe that "The Fast Saga" has ever seen.

This first confrontation that Dom and his family have with Dante results in them being turned into wanted criminals. With Agency leader Mr. Nobody (Kurt Russell) nowhere to be found, his daughter Tess (Brie Larson) can't do anything to stop the de facto replacement Aimes ("Reacher" star Alan Ritchson) from tracking down Dom and the rest of the crew, assuming that they've turned back to their criminal roots. Aimes is basically the new version of Dwayne Johnson's character Hobbs, but he's written a little more cleverly, especially in his introductory scene that finds him providing some meta-commentary in a quasi-recap of the exploits of "The Fast Saga" up until now, even going so far as to lament how long they've let this operation go on and poke fun at how many of their former enemies have inexplicably gone on to become part of the family. 

Never accept death when suffering is owed

From then on, it's a game of cat and mouse with Dante completely dismantling everything that the "Fast and Furious" franchise has become known for after all these years, all so he can make Dom suffer for a while before he decides to kill him. Inspired by his father, Dante says, "Never accept death when suffering is owed." Access to high-tech gadgets with a seemingly endless budget? Dante wipes out their bank accounts. A wager that brings incredibly high stakes to a street race with inevitable slow-motion shots of woman shaking their backsides in high heels and tropical colors as the hip-hop soundtrack pulses? Dante interrupts it looking like a flamboyant genie, and then literally blows up the racers. None of Dom's usual tricks are going to work. 

Dante becomes The Joker of the "Fast and Furious" series, and "Fast X" is all the better for it. Jason Momoa's performance goes from being a gender-fluid cartoon character dressed in colorful, flowing fabrics and ample accessories (including too many rings, gold chains attached to his glasses, and even a silky scrunchie) to being a sadistic psychopath in the same breath. He's exactly the kind of villain this series needed. One scene finds him sitting with the propped-up dead bodies of two of Cipher's henchmen, talking about doing his nails and carrying out his grand plan as if they were still alive. Even more demented is that he's taped open their eyes and mouths into twisted expressions. It's darkly hilarious and may be the best example of how deranged Dante can be. 

But for all the work that Jason Momoa does to make "Fast X" stand above the more recent "Fate of the Furious" and "F9," there are still missteps that are a bit distracting. Some of them are issues that "Fast and Furious" has had since Paul Walker passed away and took Brian out of the equation. Others are the result of too many characters with big names attached who need to be given things to do and a need to establish set-ups that will pay off in the next movie, making the "Infinity War" elements of "Fast X" both a feature and a flaw. 

Shifting gears

John Cena is given the shakiest branch of the story. It seems that Dom's plan for keeping little Brian safe in these dangerous circumstances involves his brother Jakob taking him to an unknown safe location. Lest we forget, Jacob is coming off being one of the villains in "F9," and now he's the person who Dom trusts with his son's life. 

The sequence where Jakob has to stop The Agency from grabbing little Brian to use as bait to bring Dom out of hiding gets Mia in on the action, and all this does is call into question how Brian is able to stay away from the threat that Dante is unleashing upon everyone else. It's a major distraction early on in the movie, and it will always be a problem as long as Paul Walker's character remains alive. 

From then on, Cena's portion of the story feels like it's from a family-friendly road trip adventure comedy where he plays a bit of a goober uncle trying to take care of Dom's fairly cool kid. It's like watching scenes from "Cop and a Half" in the middle of a "Fast and Furious" movie, and even though it's intended to be played for laughs most of the time, it's just not great.

Meanwhile, Letty and Cipher have the honor of taking us on a journey that seems only to exist in order to set up a big reveal in the film's third act, which actually only functions as a tease for what's to come in "Fast and Furious 11." There's even a fight between the two women that is entirely unnecessary. Granted, there are some solid blows throughout that face-off, but that storyline mostly feels like a waste of time.

But perhaps the biggest shortcoming of "Fast X" comes from the lack of emotional stakes. Ever since Brian was taken out of the action, the core of the film's heart has been missing. Dom and Brian's friendship was the driving force of this franchise, and try as several filmmakers might to shift that emotional center to Dom and Letty while still caring about the rest of the ever-growing family, it just hasn't been the same since Paul Walker passed away. Instead, the dramatic parts of the story feel like a soap opera that's trying way too hard to take itself seriously. Sure, that's typically been part of the charm of these movies, but there's still something missing. 

An ultimately satisfying sequel

Thankfully, none of the imperfections in "Fast X" keep the movie from being a bodacious blockbuster that knows exactly what fans want to see on the action front. There's still plenty of totally ridiculous vehicular havoc and lots of crisply choreographed hand-to-hand combat. As usual, the comedy is hit or miss, but honestly, these movies wouldn't feel the same if they had finely-tuned gags from expert comedians. The dad joke level of humor is perfectly suited to this franchise, and there's plenty of it on display. Of course, there are plenty of surprises along the way too, including a fun cameo that no one will see coming (not the one that was rudely spoiled by a major trade last week), and the kind of twists and turns that make this film series a joy to watch, including the biggest cliffhanger ending in franchise history.

"Fast X" may be a far cry from the relatively grounded "Point Break" retread offered by "The Fast and the Furious" back in 2001, but this sequel has many of the hallmarks that have made for the best sequels, especially "Fast Five." Though it stumbles in parts, Jason Momoa is there to keep the car in drive before he hits the nitro and blows everything to hell. It's over-the-top, outrageous entertainment that is worthy of seeing on the silver screen with the biggest tub of popcorn you can find. BOOM!

/Film Rating: 8 out of 10

Fast X, review: trashy, wildly OTT, and just what the doctor ordered

VIn Diesel and friends return in this ridiculously entertaining sequel, with Jason Momoa's new baddy considerably upping the ante

To call Fast X one of the most ludicrous action films ever made would be a borderline tautology for any instalment in the Fast and Furious franchise. But this one takes the cake. From its inception in 2001, the series has long since devolved from hot-rod street races into a kind of globe-trotting demolition derby, doing for explosive pile-ups on stretches of highway what Twister did for tornadoes.

This time, all bets are off in terms of plausibility. Characters return and arbitrarily switch sides, introduce themselves out of nowhere as the peeved relations of major baddies who died 10 years ago, or try rolling a spherical megaton bomb into the Vatican, just for the hell of it. The series pursues no logic except what’s new, who’s available, and how to pack out the multiplex screens.

In recent instalments, there’s been a danger of bloated earnestness, nicely curbed by the lunacy this time. Anyone who misses the peak shenanigans of the nifty Fast Five (2011), when a bank vault was dragged through the streets of Rio, will be reminded of that heist by a recapping prologue – a good way to show where the bar was set, then start leaping over it left and right. Who knew that Jason Momoa’s character, a drug lord’s deranged scion named Dante Reyes, was present on the scene, and has therefore been plotting revenge for the past decade? No one, until they lined him up last year.

By now, we know exactly what all the series’ stalwarts have to give. When Dwayne Johnson came in, before a head-clonking feud with Vin Diesel soured things, they called him “franchise Viagra”. 

Well, they just increased the dose. Momoa is what these films have been missing forever: a flamboyant supervillain and all-round chaos merchant, who likes to perch on the tallest landmarks and dial in carnage. He giggles and whoops, wears his hair in double man buns, and paints the toenails of the dead. Will it be a giant pearl necklace today, or shark’s teeth on a string? Metallic snakeskin or mauve silk? He’s basically Dennis Hopper in Speed meets Liberace. How the Fast series would now avoid grinding to a total halt without him is anyone’s guess.

In between Dante’s attempts to blow stuff up in a range of exotic locations, the film plays spin the bottle, arranging knock-down fights between random characters – Charlize Theron and Michelle Rodriguez in a hi-tech prison, Ludacris and Tyrese Gibson in London’s tattiest internet café.

It’s hard to see what Brie Larson in pantsuits (turns out, she’s Kurt Russell’s daughter) adds to the party, or why we need Rita Moreno and Helen Mirren as indomitable matriarchs. But Louis (Now You See Me) Leterrier is not a director to be daunted by maximalism or a stacked ensemble. If there’s an opportunity to smash helicopters together while flinging Diesel’s 8-year-old son back and forth between duelling drivers, Leterrier will grab it. His largesse is supremely trashy, and just what the doctor ordered.

12A cert, 141 min. In cinemas from Friday May 19

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Fast X Review

19 May 2023

The road is long, with many a winding turn. That leads us to who knows where…  who knows where.

Given this is a franchise that started in 2001 with Californian street racers ripping off Panasonic VCRs, then turned them into international secret agents last seen launching a car into effing  space  (in 2021’s  F9 ), it was hard to fathom where the Fast Saga could possibly escalate to next. But, with a new and capable pair of hands at the directing wheel in Louis ‘ The Transporter ’ Leterrier ,  Fast X  screeches in determined to top all that’s gone before — while clinging tight to the  Fast & Furious  formula that made the series an unlikely box-office phenomenon.

It's all here: the perma-sleeveless Dominic Toretto ( Vin Diesel ) dispensing gravelly dime-store wisdom (“No-one starts at the finish line”; “Fear is the best teacher”; “Nothing’s impossible, you just have to have faith”). His ever-expanding team of heisters, bantering and bickering and making up and hugging. A token street race, featuring many close-ups of ladies’ bottoms. A bunch of ‘surprise’ guest appearances. Repeated use of the ‘f’ word (and we don’t mean ‘fuck’). A barbecue. And, of course, a fistful of OTT car stunts that “violate the laws of God and gravity,” as new Agency antagonist Aimes (Alan ‘ Reacher ’ Ritchson ) puts it during one chokingly tongue-in-cheek monologue.

It’s utterly ridiculous. It’s kinda brilliant.

So you’ll witness Dom tackling a flaming neutron bomb on the streets of Rome, using his car to fight with helicopters, and driving it down the side of a dam pursued by what appears to be an avalanche of fire. It’s utterly ridiculous. It’s kinda brilliant.

The thin plot-tissue connecting these entertainingly preposterous set pieces is provided by a bit of retconning (another  F&F  tradition) that inserts Jason Momoa ’s Dante Reyes into the thick of the climactic action of  Fast Five , where his evil pappy Hernan dies. Described as both “a monster” and “the Devil”, this vengeful villain is hyped up as the deadliest baddie the Toretto crew has yet faced. But, if we’re supposed to treat  Fast X  as  Infinity War  on wheels, Dante doesn’t convince as a muscle-car Thanos. He spends much of his time perched in a high place with an impossibly good view, remote-controlling vehicles while cackling like a chunky Joker, dressed in a style reminiscent of  Everything Everywhere ’s Jobu Tupaki and pulling off ballet poses. Momoa’s commitment to unhinged flamboyance  almost  works, but for the most part he’s just flummoxingly irksome. We’d like to have seen a bit less of Dante, and a bit more of the psychedelic muffin (don’t ask, just watch).

After recent revelations by Vin Diesel about the film being part one of a climactic  trilogy , it doesn’t feel too spoilery to say  Fast X  ends on a massive cliff-hanger, giving its final moments the vibe of those old-timey matinee serials where you know you can’t trust anything you’ve just seen — especially given this 22-year-old series’ predilection for resurrection. But, hey, one shouldn’t overthink such things. This is  Fast & Furious . Logic is but a vanishing point in its rear-view. And we wouldn’t have it any other way.

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Fast X Reviews: Critics Share Mixed First Reactions

Following the first worldwide screening of the tenth Fast & Furious movie, Fast X , critics shared widely mixed reactions to what they saw.

Before the official summer blockbuster season brings a new round of thrilling movies, Fast & Furious 10 will continue the story’s incredible 22-year run on the big screen behind both veterans and new faces alike .

The Incredible Hulk ’s Louis Leterrier is in the director’s seat for this muscle-car-filled epic, adding his own stamp to the franchise with both this movie and 2025’s Fast & Furious 11 .

But with mixed reviews from critics over the years, even as the movies continue to excel at the box office , what is the initial verdict on the Fast family's latest globetrotting adventure?

Fast & Furious 10 First Reviews from Critics

Critics shared their initial spoiler-free reactions after the world premiere event for Universal Pictures' Fast X , which debuts in theaters worldwide on Friday, May 19.

Gizmondo's Germain Lussier held nothing back on Fast & Furious 10 , calling it "the worst Fast yet" but also praising Jason Momoa's "God-Level" performance on screen:

"'Fast X' is the worst 'Fast' yet. Yes, including [insert your least fave here]. The action is fun but it's the 1st film to not up the ante from the last one & the trademark notion of 'Family' is an afterthought. But! Jason Momoa is God-Level in it and worth the price of admission."

Insider's Kristen Acuna teased "the most shocking ending of the franchise" coming in this new movie, admitting it wasn't perfect but also comparing it to Marvel Studios' Avengers: Infinity War in scale:

"Caught "Fast X' last week! It’s a wild, non-stop action thrill ride that delivers the most shocking ending of the franchise, so far. Not perfect (end may divide fans), but it’s been growing on me & I can’t wait to see it again. Universal's def trying to make this its 'Infinity War.'

Forbes' Simon Thompson also highlighted Momoa's villain for adding "a sharp edge and some refreshing dark humor" to the franchise but called the rest "ludicrousness" while noting that it's exactly what fans expect to see:

"'Fast X' belongs to Jason Momoa and his decadent bad guy, Dante Reyes. Fierce and flamboyant, his perilous peacocking adds a sharp edge and some refreshing dark humor. The rest is ludicrousness with clunky elements but it is stupidly entertaining. What the Fast were you expecting?"

Momoa got even more praise from Cinema Blend's Eric Eisenberg , calling him the reason that the series is "back on track" and describing the whole movie as "a win:"

"'Fast X' gets the 'Fast & Furious series back on track,' and reason #1 is Jason Momoa, who plays Dante like F&F's version of The Joker. He's a gleeful psychopath, and it's delightful. Along with a story that avoids what made 'Fate Of The Furious' and 'F9' feel stale, it's a win."

Will Fast & Furious 10 Live Up to Standards?

Many are at expecting Fast & Furious 10 to be one of the highest-grossing movies of the year , especially after F9 shocked the world with a $726.2 million haul smack-dab in the middle of the COVID-19 pandemic in June 2021.

With a star-studded cast that features Oscar-winner Brie Larson alongside Vin Diesel and John Cena , amongst others, fans will be in for another wildly emotional adventure filled with stakes, speed, and unbelievable action.

The cast and crew seem to have had a blast developing this new sequel for its release, which Universal is hoping will translate into a movie that will land well with the fanbase even after such mixed reactions from critics.

And with rumors that this could actually be the first of three movies closing out the trilogy instead of only two, it's clear that the Fast family will be a regular presence in the spotlight for the foreseeable future.

Fast X debuts in theaters worldwide on Friday, May 19.

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‘fast x’ review: overspeeding thrill ride.

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I am not a product of my circumstances. I am a product of my decisions. A film enthusiast, graphic designer, and a social media manager. Seize the day!

Dom Toretto (Vin Diesel) and his family have outsmarted, out-nerved, and outdriven every foe in their path. Now, for the tenth installment in the long-running series, they must confront the most lethal opponent they’ve ever faced: a terrifying threat emerging from the shadows of the past who is fueled by blood revenge and is determined to shatter this family and destroy everything–and everyone–that Dom loves, forever.

“Fast X” marks the franchise’s beginning of the end, and it does so with a bang. The movie continues to push the boundaries of what’s possible in the world of high-speed car chases and adrenaline-fueled action. This action-packed ride is a wild, visual spectacle that will leave you breathless. The franchise has driven itself into a dead end, giving the audience what they want without anything new or surprising. Yet, seeing the reunion of the Fast family on the big screen is still both exhilarating and entertaining.

READ MORE: ‘Fast X’ serves as first of two-part finale for ‘Fast & Furious’ saga

In addition to the mind-blowing action, “Fast X” still manages to strike an emotional chord. The well-developed characters, played by a talented ensemble cast, bring depth and complexity to the story. Vin Diesel’s portrayal of Dom Toretto continues to be the heart and soul of the franchise, but “Fast X” belongs to Jason Momoa. His performance as the villain steals the show and solidifies his place among the stars of the franchise. Even the newcomers to the franchise — Brie Larson, Alan Ritchson, and Daniela Melchior — also make a memorable impact, bringing their own unique energy and personalities to the table.

“Fast X” is the ‘Infinity War’ of the franchise, bringing another impossible entry into its legacy. The movie is just revving its engine for more sequels to come, kicking off more stories one way or another, yet it offers an appropriately overwhelming finale to a no doubt temporary ending. “Fast X” hooks you in the same way, and part of what makes “FAST” so enjoyable is the awareness of its entertainment, action, and adrenaline rush while still retaining an immense heart to the story.

The movie is tailor-made to entertain fans and impress them with its impossible, yet awe-inspiring, stunts. In the end, “FAST X” delivers yet another mind-blowing finale that will have fans begging for more. There is a post-credit scene that will surely shock its longtime fans.

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• Cast & crew

Fast X: Part 2

Plot kept under wraps. Plot kept under wraps. Plot kept under wraps.

• Louis Leterrier
• Christina Hodson
• Jason Statham
• Dwayne Johnson
• Jason Momoa

• Deckard Shaw

• Dante Reyes

• Dominic Toretto

• Letty Ortiz

• Mia Torretto

• All cast & crew
• Production, box office & more at IMDbPro

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• Trivia Vin Diesel wants Robert Downey Jr. to portray the 'antithesis' of Dominic Toretto in this film.
• Connections Referenced in Amanda the Jedi Show: I Watched 21 HOURS of 'FAST AND FURIOUS' and now I Can't Die (2023)
• When will Fast X: Part 2 be released? Powered by Alexa
• April 4, 2025 (United States)
• United States
• United Kingdom
• Quá Nhanh Quá Nguy Hiểm 10 - phần 2
• One Race Films
• Original Film
• Universal Pictures
• See more company credits at IMDbPro

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• IMAX 6-Track
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Spy x Family Code: White review – ingenious espionage antics with special-power family

Popular manga characters receive their first film adaptation as they seek out a villainous colonel and an elusive dessert, brought off with great style by director Takashi Katagiri

A fter a successful TV adaptation, the popular characters of the bestselling manga Spy x Family are ready for their big screen closeups. Directed by Takashi Katagiri from an original story, this highly entertaining film maintains the ingenious blend of espionage escapades and slice-of-life shenanigans that has made the series a smash hit, all while expanding its set pieces to a more spectacular scale. To achieve this delicate balance between comedy, suspense and action thrills is no easy feat and for the most part, the film accomplishes this mission well.

The lovable Forger trio of spy papa Loid, assassin mama Yor, and telepathic daughter Anya, are swiftly reintroduced; this fake family embarks on a hilarious adventure involving an elusive dessert, stolen negatives and a villainous colonel. Brought together by a top-secret assignment, the Forgers must hide their special powers from one another, a conundrum made even more comical by the inclusion of their fluffy pet Bond, a lab dog that has the ability to see the future.

Although modelled after cold war conflicts, any hint of politics is a mere MacGuffin, adding a touch of the pastiche to the film’s universe. From the jazzy score to chic gadgets and disguises, the tactile details are a welcome change from other movies that prioritise action over elegance. Spy × Family Code: White doesn’t always get the balance right; compared with the first half which, like the TV series, sees child-rearing as its own kind of mission impossible, some of the later scenes are bogged down by lengthy showdowns between the Forgers and their foes. The wacky humour, however, re-emerges in a surreal, gorgeously animated daydream dedicated to the god of poop. It is this full-throated commitment to silliness that makes this film, and Spy x Family as a whole, a singularly delightful experience.

• Animation in film
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'Spy x Family: Code White' Review: The Beloved Anime Gets a Fun Movie

Anya, Twilight, and the Thorn Princess make their big screen debut!

The Big Picture

• Spy x Family: Code White is a standalone adventure suitable for new viewers, efficiently recapping the series' plot.
• The film balances all main characters effectively, with Anya being the driving force and Yor's role serving as comic relief.
• Code White offers great action sequences and animation but lacks new perspectives, making it more like an extended filler episode.

Of all the things that make Spy x Family so unique, the main element is that we instantly fell in love with the Forgers. Whether we’re following Twilight’s daring adventures, Yor’s intense battles, or Anya getting into hilarious situations, there’s never a dull moment for our favorite fake family. Spy x Family: Code White marks the series' first time on the big screen , and while it’s not without its faults, the film stays true to what makes Spy x Family such an exceptional anime.

Spy x Family Code: White

Spy x Family: Code White sees Anya and her parents go on a family road trip as they try to finish a school project . This reasonably simple premise allows the film to focus on the Forgers without diving deep into a massive villain plot or introducing a ton of exposition and unnecessary world-building. Instead, the film sticks to the basics, which is all it ever really needed to do.

'Spy x Family: Code White' is the Franchise at Its Best

Spy x Family: Code White is a standalone adventure that anyone can watch without seeing the anime’s previous two seasons. The film encourages new viewers to jump right in as it does a fantastic job efficiently recapping the show’s plot. When we meet the family in Code White , it’s very much a day in the life of the Forgers, making it easy for all viewers to get into.

The film is essentially a nostalgic journey through Spy x Family ’s greatest hits, as we see almost every major character appear, and the film doesn’t cover any themes not seen in the series. However, it’s still an entertaining watch. The film’s main storyline focuses on Anya accidentally getting mixed up in a villain plot while the Forgers are out on a family trip. Coinciding with Twilight also having to stop said villains, Yor gets suspicious of Loid’s behavior and suspects infidelity. These familiar themes, executed with precision, are what make the film stand out and evoke a sense of connection for returning fans.

One of the major struggles of Spy x Family has always been balancing the screen time between the three main characters. In Season 1, Yor was rarely the main focus, while in Season 2, Twilight’s role was significantly reduced. Code White does the incredible feat of keeping every character relevant to the plot and leaning into their strengths. Anya, like always, is the driving force of the film. She’s the only one consistently aware of what’s happening at all times, which always puts her at the center of events. Anya brings that sense of joy and childlike wonder as she gets into trouble. At the same time, Yor’s role in the film is much more subtle. She’s often used as comic relief, but her fears are real; losing this family can leave her with nothing, and we see that she legitimately cares for Anya and Loid. The threat of this family falling apart is again not entirely new to the series. Still, the execution is good enough to make it feel earned, especially when Twilight’s directives change throughout the film.

'Spy x Family: Code White' Might Not Be Best For Returning Fans

Unfortunately, Code White 's strengths are also a double-edged sword . The film, while entertaining, adds little for those familiar with the series. With little bearing on Operation S.T.R.I.X. , this entire mission can be viewed as an extended filler episode. We know Twilight and Yor stay together and that Anya’s safety is not in danger, which undercuts much of the dramatic tension the film hopes to create. With no real sense of urgency, Spy x Family: Code White feels like it can drag on a bit, especially in the second act. It also doesn't help that the film's main antagonist, Snidel, was not that interesting. He's a serviceable foil for Twilight and Anya, but he serves no purpose outside of being a bad guy who needs to be punched.

The film does have great action sequences , and the animation is some of the best we’ve seen in the franchise. The 1960s aesthetic aids the classic spy feel, making the art stand out. Twilight is in his James Bond bag as the spy antics are amped to a level we haven’t seen since Season 1, while Yor specifically has a highlight moment during her third-act battle with a new villain. Anya and Bond do their usual slapstick moments that are still cute but might overstay their welcome just a bit too long.

The film needed to take bigger swings to have a lasting impact. It keeps the status quo of the anime and doesn’t do anything to give a new perspective or spin on these characters. While the status quo is still the series that has become a cultural phenomenon, we can only look at Code White and wonder just how great it could’ve been if it had attempted something new.

Spy x Family: Code White is a fun adventure with the Forger family . However, it offers very little for those looking for a more character-driven story or even a threatening new antagonist to Twilight. Instead, they keep things consistent with the show so it's an easy entry for new viewers. If you’ve enjoyed the series up to this point, you’d have fun with the film. Just know that it’s not mandatory viewing. That said, a day in the life of the Forgers is still an outstanding time.

Spy x Family: Code White is a fun journey with the familiar characters of the series though doesn't add much of anything new.

• The film stays true to what made the anime series so great.
• All of the characters get the attention they deserve, ensuring the movie remains balanced.
• The animation is some of the best we've seen from the series, with great action sequences providing plenty of highlights.
• While consistent, there is still something lacking from the movie as it doesn't take that extra leap into something new.

Spy x Family: Code White is now in theaters in the U.S. in the original Japanese subtitles and English Dub. Click below for showtimes near you.

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