Fast & Furious Presents: Hobbs & Shaw
If you’re looking for a realistic action/heist movie, the Fast & Furious franchise probably isn’t the right one for you.
Scratch that. If you’re into realism at all, Fast & Furious definitely isn’t for you.
These films frequently involve supercharged cars used to either commit or prevent some kind of crime, and the franchise has grown in both size and scope over the series to now be on the international, world-affecting scale—which often forces you to lean heavily on your suspension of disbelief and just sit back and enjoy the big chases and action pieces.
Things like a Russian nuclear submarine chasing sports cars across an icy tundra (Fate of the Furious) or cars racing and jumping parkour style between floors of high-rise buildings (Furious 7) or somebody jumping out of a moving vehicle and catching someone else in mid-air across two freeway lanes on a bridge expanse (Fast & Furious 6) or a Dodge Charger ripping out a massive bank vault and then dragging it down the highway at high speed (Fast Five) abound. So, yeah, the Furious franchise and reality—and things like gravity, physics, and the fragility of the human body— are really more like nodding acquaintances.
But if you can look past that and just sit back with a bucket of popcorn and a drink, these movies can be a lot of fun.
After eight films that have amassed nearly $5 billion worldwide since 2001, it isn’t surprising that Hollywood looked for more ways to get some gold from this goose. This latest installment, however, isn’t really a Fast & Furious film, but rather a new story set in the same universe involving two spinoff characters: former Diplomatic Security Service agent Luke Hobbs (Dwayne “The Rock” Johnson), and former British Special Air Service Major, Deckard Shaw (Jason Stratham). Of course, making an action film starring The Rock and Stratham isn’t really much of a gamble, as the two have enough star power individually to carry a film.
Fans of the series will know there has been little love lost between Hobbs and Shaw, and calling them “frenemies” would be generous as the two have a history of animosity and trying to out-macho each other while wanting to beat each other to death. This movie embraces that, with the two frequently trading barbs and insults to comedic effect. The chemistry between the actors works well, as does the juxtaposition between the Rock’s hulking mass and rough-around-the-edges ways, compared to the posh, stylish, and subtle Stratham. (The film’s opening is literally a split screen highlighting the stark differences of how the two begin their day.)
While a team of MI6 agents is attempting to retrieve a super virus named “Snowflake” from a terrorist group, they’re overrun by another group of terrorists from an organization known as Eteon led by a cybernetically enhanced super-agent named Brixton Lore (Idris Elba). Not wanting the virus to fall into enemy hands, MI6 agent and Deckard’s younger sister, Hattie Shaw (Vanessa Kirby) injects herself with the virus and goes on the run. Lore kills the remaining MI6 agents and frames Hattie for the crime and virus theft, and from there the story takes us around the world—from London to Moscow to Ukraine to Samoa—in search of clearing Hattie’s name and finding a way to extract the virus before it kills her . . . along with everyone else on the planet.
Two big stars, Ryan Reynolds and Kevin Hart, make uncredited cameos in the film, and their scenes are some of the best and most hilarious, showing that the movie doesn’t take itself too seriously. Reynolds plays CIA agent Locke, responsible for getting Hobbs on board to help track down Hattie, and his dialogue is fantastic, reminding me of a PG-version of his Deadpool character. Hart plays Air Marshal Dinkley, who desperately wants to join Hobbs and Shaw in their mission and get involved in something bigger and get out of his “can of farts.”
The movie has a 2-hour 17-minute runtime, and while it never feels slow, it does feel a bit long. I mean, there are only so many fights and chases one can handle, no matter how well they look, how many people are in the fray, or the weapons and choreography involved. Though even the most jaded car-chase viewers will find it tough to not feel a bit of an adrenaline rush during the terrific London chase with Shaw behind the wheel of a McLaren 720S being chased by Lore on a Triumph Triple Speed motorcycle.
Filmed in ArriRaw in a combination of 2.8 and 3.4K, Hobbs & Shaw is taken from a 2K digital intermediate. Detail in closeups is always sharp, clear, and detailed. There are plenty of opportunities to see fine details, like the well-groomed stubble on Shaw’s face, individual drops of sweat glistening on The Rock’s significant dome, or the texture and grain in Lore’s black-leather uniform. The image is always totally clean and noise-free, with blacks that are deep and pristine.
What really makes the image look great is the use of HDR throughout. Many of the film’s big scenes are at night, and really come to life with the HDR grading. This is apparent from the opening nighttime robbery in London, with bright lights against deep blacks, along with vibrant greens, golds, and reds, and near the end when lightning flashes and huge fireballs had me squinting, while the image maintained lifelike, deep-black levels. In contrast, the non-HDR Blu-ray version just has a flatness to it that is especially noticeable on larger screens like my new 4K projector and 115-inch screen.
The disparity in picture quality is apparent in the opening when we watch Hobbs and Shaw walking through clubs in LA and London surrounded by lots of bright lights and neon. The 4K HDR version makes these lights glow brightly like neon, where the 1080p non-HDR version just looks like blue, red, and purple lights without any pop or vibrancy to them. The 4K HDR version has far more depth and realism throughout.
Sonically, H&S is a big film, with a big and dynamic soundtrack with some significant bass when called for, which is often, due to the fights and explosions throughout. Unfortunately, NBCUniversal continues to refuse to provide Kaleidescape with the Dolby Atmos soundtrack, so the digital download only contains a DTS HD-Master 5.1-channel mix. While not as impressive as a discrete Atmos or DTS:X mix, the H&S soundtrack sounds quite exciting and immersive when run through an upmixer like Dolby Surround or DTS:Neural.
Drones zip past overhead, cars screech along the sides of the room, glass shatters and debris falls all around, and even the gentle outside wind, ocean, and bird sounds fill the room.
If I had one quibble with the audio. it’s that the dialogue was a bit difficult to understand during some scenes. Whether this was due to the music and effects levels, the British accents, or just poor dialogue recording or mixing I can’t say. Fortunately, these moments are infrequent.
If you can look past some moments that defy credibility—like Hobbs lassoing and holding down a Blackhawk helicopter —Fast & Furious Presents: Hobbs & Shaw can make for a fun night at the movies. It’s available for full 4K HDR download from the Kaleidescape Movie Store now, a full three weeks before its release on physical media November 5.
Probably the most experienced writer on custom installation in the industry, John Sciacca is
co-owner of Custom Theater & Audio in Murrells Inlet, South Carolina, & is known for his writing
for such publications as Residential Systems and Sound & Vision. Follow him on Twitter at
@SciaccaTweets and at johnsciacca.com.