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Film Review: ‘Fast & Furious 7’

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Ludacris, Michelle Rodriguez and Tyrese GIbson co-star in 'Fast & Furious 7.'

Ludacris, Michelle Rodriguez and Tyrese GIbson co-star in ‘Fast & Furious 7.’

By Dwight Brown
NNPA Film Critic

Walking into a theater to see the latest Fast & Furious episode is like saying hello to an old, well-oiled friend. Great and familiar cast, excellent script, superb production values and the direction is tight as a drum. Can’t say this is the best film of the franchise, because so many of them have been excellent. But it’s easily the most daring. Fasten your seat belts and test the airbags. This one accelerates real fast.

Deckard Shaw (Jason Statham), a British black ops assassin, has a bug up his butt. Dominic Toretto (Vin Diesel) and his crew killed his brother and he is out for revenge. First stop is the office of CIA agent Luke Hobbs (Dwayne Johnson), where Shaw and Hobbs get into a fight that leaves the hulky agent broken. Next Shaw sends his blessings in the guise of a bomb to Dominic, his pal Brian (Paul Walker), his lady Mia (Jordana Brewster) and their kid. Kaboom!

Dom seeks answers. A government operative (Kurt Russell) has a plan. If Dom and his “family” hunt down a beta device called a Gods Eye, which is capable of tracking down anybody through aggregated surveillance cameras and audio feeds—even from cell phones, he’ll let them use it to catch Shaw. Says the operative, “It’s like a tracking device on steroids.” Says its inventor, Ramsey (Nathalie Emmanuel), “it uses every camera eye and audio device in this hemisphere.” And off they go, into battle. Dom and his crew and their vehicles. To the mountains of Eastern Europe, to Japan, the Middle East and L.A.

Director James Wan (Saw and The Conjuring) steps up to the camera along side cinematographers Marc Spicer and Stephen F. Windon (Fast & Furious 6) and displays an exceptional dexterity for car chases, fistfights and brawls. He uses a lot of close ups, and that filmmaking strategy drags you into the characters, their actions and the movie. With the aide of editors Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri and Christian Wagner, he assembles adrenalin-pumping footage that is near perfectly paced for 140 minutes.

The action sequences are spellbinding. Cars jump out of planes, roll down mountains, are pummeled by missiles and skid through buildings. The car crew jumps out of moving trucks onto cars, drive super charged classic cars and evade gunshots. Punches are thrown, tire irons swung and machine guns are wielded around like toys. There is a precision to the proceedings that is astounding, invigorating and over the top.

Screenwriter Chris Morgan, who penned four previous chapters, knows the drill. Personal drama (there are some awkward sentimental moments that linger too long), romance (Diesel and Michelle Rodriguez rekindle the love story between Dom and Letty), intrigue, revenge, evil doings, retribution and the final fight and chase scenes. He doesn’t let the characters evolve much, compared to the originally one conjured by Gary Scott Thompson in 2001. He’s more faithful to their personalities, relationships and group dynamics. There are millions of fans waiting for whiney Roman (Tyrese Gibson) to crack jokes and Tej (Ludacris) to have a tech solution for a problem, and Morgan doesn’t disappoint.

The direction, production elements and writing wouldn’t mean a thing if the cast wasn’t on their game, and they are. They’ve aged; fuller faces, softer muscles, and maybe they’ve slowed down a step or two. Diesel is laconic, strong, the alpha. Johnson has his customary bravura. Rodriguez has that perfect blend of strong Latina and vulnerable woman. Statham is a worthy villain. Kurt Russell is a welcome addition. If you didn’t know that Paul Walker had passed, you couldn’t guess from what’s on view that his work, stand-ins, his brother and movie magic filled out his entire role in the movie. It’s easy to see that this film is a homage to his spirit.

It’s hard to say this is the best action film every made, but worth that debate.

This spring when you walk into your theater to see Fast & Furious 7, you will walk out thinking you just saw the first blockbuster event movie of the summer – only it isn’t summer yet.

Wanna go for a ride?

Visit NNPA Film Critic Dwight Brown at DwightBrownInk.com.

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Activism

Oakland Post: Week of January 8 – 14, 2025

The printed Weekly Edition of the Oakland Post: Week of January 8 – 14, 2025

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Activism

2024 in Review: 7 Questions for California Black Chamber of Commerce CEO Jay King

Jay King is also a member of the popular 1980s R&B group Club Nouveau. In his role as an artist and activist, he has stood up for issues affecting underrepresented Californians for over three decades. As the President of the CBCC, King says he is determined to put his mark on developing and expanding the capacity of African American businessmen and women. 

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Jay King, president of CEO of the California Black Chamber of Commerce.
Jay King, president of CEO of the California Black Chamber of Commerce.

By Edward Henderson, California Black Media  

Grammy Award-winning singer and record label executive, Jay King, was elected CEO/President of the California Black Chamber of Commerce (CBCC) in June of 2019.

The CBCC is the largest African American non-profit business organization, representing thousands of small and emerging businesses, affiliates, and chambers of commerce throughout California.

King is also a member of the popular 1980s R&B group Club Nouveau. In his role as an artist and activist, he has stood up for issues affecting underrepresented Californians for over three decades.

As the President of the CBCC, King says he is determined to put his mark on developing and expanding the capacity of African American businessmen and women.

California Black Media (CBM) spoke with King recently. He reflected on the Chamber’s accomplishments, disappointments, lessons learned this year, and goals moving forward.

Looking back at 2024, what stands out as your most important achievement and why? 

Making the voices of micro and mini-micro businesses loud, forcing policymakers and other decision makers across the state to pay attention to them. With legislation in place now — AB 1574 and AB 2019 – that mandates that the state and agencies affiliated with the state extend opportunities to micro and mini business owners and give them a chance to participate in government contracting in a real way.

How did your leadership and investments contribute to improving the lives of Black Californians? 

I really want to contribute to the world and the state of Black businesses because of the systemic inequities in the past.

Small business, micro businesses and mini businesses are too often overlooked.

I think it would be egotistical to believe that I make any significant impact on my own. Whether it’s the Asian Chamber, Hispanic Chamber and other organizations that are fighting the same fight. I think it’s a collective, so I’m proud to be part of the collective.

What frustrated you the most over the last year?

We say we want to give access to capital to small businesses, yet we continue to create barriers that deny them access.

What inspired you the most over the last year?

Watching some of the small business owners that we worked with — these micro businesses — and seeing the potential and the power that is in front of us.

What is one lesson you learned in 2024 that will inform your decision-making next year?

We have to fight for Black business owners, but they also have to be prepared; because if they’re not, it affects us all down the line.

In one word, what is the biggest challenge Black Californians face?

Self-belief. I think we have been conditioned on victimization and victimhood. We think that if we don’t get the help we need that we will falter.

What is the goal you want to achieve most in 2025?

I want to change the trajectory of micro and mini business owners.

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Bay Area

Tina Thompson: Champion, Legend, and Pioneer of Women’s Basketball

Known for her signature red lipstick, Thompson displayed confidence and style on the court, becoming an icon both for her gameplay and her individuality. Her ability to score from anywhere on the floor, combined with her defensive prowess, made her one of the league’s most formidable players.

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Tina Thompson at 2013 WNBA All-Star game at Mohegan Sun. 27 July 2013. Photo: Danny Karwaski/Wikimedia Commons.
Tina Thompson at 2013 WNBA All-Star game at Mohegan Sun. 27 July 2013. Photo: Danny Karwaski/Wikimedia Commons.

By Tamara Shiloh

The establishment of the Women’s National Basketball Association (WNBA) in 1996 was a turning point for women’s sports, creating a professional platform for female basketball players to showcase their skills at the highest level. Among the trailblazers who helped launch the league, Tina Thompson stands out as the first African American woman drafted into the WNBA.

Tina Thompson was born on February 10, 1975, in Los Angeles, California. Raised in a basketball-loving household, she quickly developed a passion for the game. Thompson improved her skills on the playgrounds of South Central Los Angeles, often playing against boys, which toughened her game and fueled her competitive edge.

She attended the University of Southern California (USC), where she became a standout player for the Trojans. Known for her versatility, scoring ability, and relentless work ethic, she earned All-Pac-10 honors multiple times and cemented her reputation as one of the top collegiate players in the nation.

When the WNBA held its first-ever draft on April 28, 1997, Tina Thompson made history as the league’s first African American player to be drafted. Selected as the first overall pick by the Houston Comets, she joined a team that would go on to dominate the early years of the WNBA.

Tina’s selection was a historic moment, symbolizing the league’s commitment to showcasing diverse talent. As a Black woman in a pioneering role, Thompson carried the hopes of aspiring African American female athletes who dreamed of playing professional basketball.

Tina wasted no time making an impact in the WNBA. As a key member of the Houston Comets alongside legends Cynthia Cooper and Sheryl Swoopes, she helped lead the team to an unprecedented four consecutive championships from 1997 to 2000. The Comets’ dynasty became the gold standard for excellence in the league’s early years.

Known for her signature red lipstick, Thompson displayed confidence and style on the court, becoming an icon both for her gameplay and her individuality. Her ability to score from anywhere on the floor, combined with her defensive prowess, made her one of the league’s most formidable players.

Over a career spanning 17 seasons, Tina established herself as one of the WNBA’s all-time greats. She retired as the league’s leading scorer, a record she held until it was broken by Diana Taurasi. She was a nine-time WNBA All-Star and was named to multiple All-WNBA teams, cementing her status as one of the sport’s legends.

In 2018, Thompson’s contributions to basketball were recognized with her induction into the Naismith Memorial Basketball Hall of Fame. The honor underscored her influence not just as a player, but as a trailblazer for African American women in sports.

After retiring from professional basketball, she transitioned into coaching, using her experience and knowledge to mentor young athletes. She has served as a head coach at the collegiate level, inspiring the next generation of players to pursue excellence both on and off the court.

As a role model and advocate, Thompson has consistently emphasized the importance of education, empowerment, and self-belief. Her story resonates with countless young women who see in her the embodiment of perseverance and success.

Tina Thompson is presently in her third season as an assistant coach at the University of Texas at Austin.

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