Director:
Justin LinGuión:
Chris MorganCámara:
Stephen F. WindonMúsica:
Lucas VidalReparto:
Vin Diesel, Paul Walker, Dwayne Johnson, Michelle Rodriguez, Luke Evans, Tyrese Gibson, Gina Carano, Sung Kang, Gal Gadot, Ludacris, Jordana Brewster (más)Streaming (7)
Sinopsis(1)
Desde que Dom y Brian consiguieran cien millones de dólares con su atraco en Rio, nuestros héroes han vagado por el mundo. Pero la imposibilidad de volver a casa y vivir para siempre a la fuga les ha dejado una vida incompleta. Mientras, Hobbs ha estado buscando a una organización de conductores mercenarios letales a lo largo de doce países, cuyo líder está acompañado por la que será revelada como el amor de Dom, a la que creían muerta, Letty. La única forma de pararles es sacarles ventaja a nivel de calle, así que Hobbs pide a Dom que forme su propio equipo de élite en Londres. ¿La recompensa? Un indulto completo para todos ellos, para que puedan regresar a casa. (Universal Pictures España)
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Reseñas (16)
Esta película rígida como una máquina con un guión que parece ser escrito en una noche está más cerca de La jungla: Un buen día para morir que de Fast and Furious 5. Reunión, acción, reunión, acción, reunión, acción y así todo el tiempo. Y las reuniones no son tan divertidas como les gustaría, y la acción es cómicamente exagerada, y no lo suficientemente clara para ser la serie de acción más exitosa de la actualidad. Además, la sexta no tiene lugar en un entorno exótico tan atractivo como la quinta, tiene desviaciones de la trama que la estiran innecesariamente y le quitan la dinámica (visita a la cárcel, carreras de Diesel con Rodríguez), y todos sus momentos destacados los hemos vimos en los avances.
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Si así fueran todas las sextas, el nivel total de las películas sería bastante alto. Rápido y Furioso para mí desde la primera entrega representa principalmente una buena diversión de acción que no tuve tanto después de la fuerte década de los 90 en el siglo XXI. No es una joya del cine, pero me encantó toda la serie y tranquilamente podrían hacer otras veinte secuelas para mí. El quinto estableció el listón muy alto, pero sinceramente, la sexta me gustó mucho, no me aburrí ni por un momento, me reí varias veces y sonreí algunas veces por la obvia exageración, pero no importa. Diesel, Walker, Johnson, Rodriguez y compañía son un excelente equipo. Espero la séptima película y a Statham. Honor a la memoria de Walker.
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Due to the trajectory of the franchise and its concept of a team of criminals as a family, placing the high-octane action in a melodramatic context was probably inevitable. Melodramatic conventions are the reason why the film ends on the second attempt, why it has problems with rhythm and why the characters conform to psychological formulas at the level of three-year-olds. The film’s family theme prevents it from getting out of first gear, as every big action scene is followed by blather about important values, which is only a substitute for a more sophisticated plot. The only one who manages to reflect the obvious melodrama is the main villain, who, of all the film’s characters, is the most capable of rational thought. In the context of a film driven by illogic and sentiment, he represents an anomaly that must be eliminated. ___ The film’s obvious objective and the approximate way of achieving it are introduced shortly after the nostalgic opening credits (which logically and primarily accentuate the “team” level of the previous films), and only after it is achieved does the dully straightforward narrative formula undergo a slight modification: Toretto’s crew comes up with a way to get Shaw. But Shaw is smarter and avoids capture; as he does so, several expensive cars explode and a few anonymous civilians die. So Toretto’s crew comes up with another plan, during the execution of which more expensive cars explode and more anonymous civilians die. Instead of the gradual development of motifs and well-thought-out provision of information, the cards are rashly laid out on the table and the crew rushes pell-mell toward their objective (not even the two small “female” story surprises, one cheap, the other stupid, manage to in any way alter the course of events). The film is even more narratively “disintegrated” than Fast Five, but it doesn’t allow us to watch it undisturbed in a relaxing “standby” mode – enjoyment of the attractions is disrupted by the frequent dialogue, which is always serious about everything. A crucial problem of the film consists in the action scenes themselves, as they are fragmented by numerous unnecessary cuts and peppered with obvious digital tricks (the only car chase in Jack Reacher is directed far more clearly than any given chase in this film). __ Whereas the women in the film are dangerous, treacherous, defenceless, recovering from amnesia or just there to look good, the men were assigned the roles of invaluable protectors, capable lovers and excellent drivers. Fast & Furious 6 is just one big guyish pose, a film that too obviously displays its confidence in itself and the values that it promotes: if you have enough money, physical strength or weapons (or, ideally, a combination thereof), you can afford to go up against practically anyone. But you mustn’t put your family in danger. The relativisation of the villain and protagonist roles by means of self-reflexively pointing out the similarities between the teams facing each other (and whose members will fight each other more or less according to how Roman pairs them off) is ultimately just another false gesture with which Lin tries to conceal the fact that this time he bet more on big muscles, empty slogans and bombastic rhetoric than this 130-minute genre flick can bear. I don’t deny that it’s still a pleasure, but it’s much more of the guilty variety after Fast Five, whose testosterone-fuelled bombast was still generally acceptable. 70%
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Lin has hit his limits, given that situations involving the characters and their emotional interactions elude him, taking his own feet from under him and in the final decision-making, he is unable to offer more than self-sacrificing glances and theatrical gestures. That’s assuming he doesn't fire off any major action bombs, but rather a still technically brilliant arrangement that has since last time abandoned any semblance of reality and ventured into the sci-fi genre (without a major highlight, moreover). This necessarily means a rough and painful fall that's ultimately hampered by the cast where everyone has parked themselves into their roles in a way that feels like they were just born for them.
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This decade seems dominated by over-the-top action franchises like The Expendables and Fast & Furious. But while The Expendables leans into the throwback vibe of 80s and 90s action flicks, Fast & Furious is all about its insane car stunts and absurdly over-the-top action sequences. And honestly, in this installment, some of it is surprisingly bearable. It's a decent way to zone out for a couple of hours, packed with familiar faces. Nothing groundbreaking, just your typical mindless, but effective blockbuster fun.
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