Men, Women, & Children, Hercules, The Hundred-Foot Journey, Jersey Boys, 3 Days to Kill, The Captive, Maleficent, Noah, The Monuments Men, Into the Storm, Devil’s Knot, A Million Ways to Die in the West, Pompeii, Transcendence
Exodus: Gods and Kings, The Judge, The Equalizer, Magic in the Moonlight, Godzilla, The Amazing Spider-Man 2, Before I Go to Sleep, Sin City: A Dame to Kill For, God’s Pocket, Horrible Bosses 2, Sabotage, Deliver Us From Evil, Non-Stop, Mandela: Long Walk to Freedom, Jack Ryan: Shadow Recruit, The Water Diviner
Worst part: The frustrating supporting characters.
Disastrous losing streaks aren’t enjoyable for anyone in Hollywood. They come without warning whilst embarrassing their victims beyond belief. In Tinseltown, losing streaks can happen to directors, writers, and actors. Sadly, Hollywood’s catastrophic run of video game adaptations is officially getting worse. After witnessing exhaustive action flick Need for Speed, I believe Hollywood should throw in the towel. The movie, despite its alluring cast and marketing campaign, isn’t worth the admission cost. Save your money and play the game instead. trust me, you’ll have a much better time. At the very least, you’ll gain some sense of control.
Who’s asking for these video game adaptations, anyway? Everyone wants their favourite games, comic books, and novels adapted into movies. But why can’t people simply enjoy them for what they are? These adaptations, cashing in on a particular brand, prove that some entertainment mediums don’t cross over effectively. The mass divide between video game and cinema mechanics drifts Need for Speed into an inescapable vortex of mediocrity. It’d be simplistic and cheesy to make a significant number of car puns throughout this review. However, the plot, such as it is, relies on its viewers having low IQs, acute nymphomania, and Red Bull addictions. People who refuse to sit through 12 Years a Slave or The Wolf of Wall Street (you know, intelligent movies) will lap up Need for Speed‘s irritable ticks and predictable turns. The plot kicks off with testosterone-fuelled car mechanics being idiotic. After a sorrowful introduction from renowned radio presenter Monarch (Michael Keaton), we run into notorious grease monkey/street racer Tobey Marshall (Aaron Paul). Marshall, running his late father’s garage, is haemorrhaging money faster than he can earn it. Gaining respect within Mt. Kisko, New York’s underground drag-racing scene, Marshall is considered one of the circuit’s hidden treasures. Celebrity driver Dino Brewster (Dominic Cooper) comes to Marshall for help. Hoping to settle their long-lasting feud, Brewster offers Marshall a spectacular opportunity. Brewster asks Marshall’s crew to fix-up the Ford Mustang acclaimed car designer/entrepreneur Carroll Shelby (don’t worry, I didn’t know who that was either) was working on before his passing.
Dominic Cooper & Dakota Johnson.
Before I go on, I’ll ask Dreamworks Studios and co. just one thing. Dear studios, this is based on a plotless video game, what did you think would happen?! The Need for Speed franchise consists only of uninteresting cut scenes and exhilarating car chases. This franchise, despite reaching the right demographic, can’t deliver acceptable cinematic endeavours. Congratulations Burnout and Gran Turismo, I now have more respect for you! Anyway, the plot takes sharp turns early on. After pitching their work to car dealer Julia Maddon (Imogen Poots), Marshall gets back on Brewster’s bad side. Hindered by Marshall’s efforts, Brewster challenges him and his comrade Little Pete (Harrison Gilbertson) to a race. Using Koenigsegg Ageras, the three speed down the freeway before Pete is killed. With Pete’s sister and Marshall’s old flame Anita (Dakota Johnson) standing by Brewster’s word, Marshall is sent to prison. Before long, motivations, revelations, and speeches bust out of these irritating characters. This revenge plot, controlling this half-assed Fast and Furious rip-off, is as tedious as watching someone play the aforementioned video game. Even before the half-way mark, it divulges into derivative tropes and face-palm-inducing moments. Sadly, thanks to George Gatins’ interminable screenplay, the movie assumes its two or three movies into its own franchise. After its annoying characters are introduced, the movie pushes on without depth, personality, or originality. Separated from the franchises’ eighteen instalments, these characters are simply uninteresting hindrances. Another problem – trust me, there are a lot of ’em – stems from Hollywood’s current trend of adapting useless properties. Stunt coordinator turned director Scott Waugh (Act of Valor) obviously doesn’t care about the movie’s slower moments. Not knowing whether to take itself seriously or take deep breaths, Need for Speed’s jarring tonal shifts become debilitating road blocks.
“Racers should race, cops should eat donuts.” (Monarch (Michael Keaton), Need for Speed).
Tripping over the franchise’s baffling ‘mythology’, gullible thirteen year-old boys will be the only ones savouring this tumultuous experience. Deliberating on visions of the future, masculinity, and racing’s raw power, the movie’s spiritual side dampens its insignificant and questionable narrative. Predictably, plot contrivances, cliches, and unnecessary sketches extend the bloated story. Despite presenting itself as a homage to 70s drive-in flicks, aided by overt references to Bullit, the movie sorely lacks pathos, energy, and relevance. Beyond the plot-hole, and pot hole, driven narrative, the dramatic and comedic moments don’t help. The slapstick moments, led by irritating supporting players, are accompanied only by crickets and tumbleweeds. One act of defiance, involving one character quitting his job, is just plain tiresome. Paul, coming off of AMC hit series Breaking Bad, does his best with such immature material. Paul and Poots, developing a slither of chemistry within their Mustang’s small confinements, are charismatic forces in need of better projects. On the other end of the spectrum, rapper Scott ‘Kid Cudi’ Mescudi hampers every scene he coverts. As the movie’s most offensive stereotype (and that’s saying something), Mescudi should stick to his rap career. Somehow,Need for Speed‘s characters are less realistic than the racing sequences.Thankfully, the action set pieces steal the show. Created with flawless technical precision and attention to detail, the skids, crashes, and flips deliver tiny joyful moments. Thanks to immaculate practical effects, Waugh’s exhaustive knowledge of stunt-work pays-off here. Unfortunately, he and the screenwriters stall when it comes to everything else. Why should I compliment this abominable mess? The negatives far outweigh the positives. I could make more car puns and jokes, but they would distract from my anger toward this unending skid-mark.
Here, Hollywood has blessed us with yet another woeful and forgettable video game adaptation. Yawn! Surely, it can’t be that difficult to produce one worthwhile adaption. Up there with Doom, Max Payne, and Prince of Persia, Need for Speed steals this franchise’s rhythmic title and speeds off into the distance. Thankfully, this movie will probably crash and burn at the box office. Trapping Paul, Poots, and Keaton inside a fiery mess, this lazy car-race flick delivers cheap thrills and loud groans. Unfortunately, story-driven games are now being given short shrift. Thanks to the aforementioned franchise killers, the Last of Us, Halo, and Metal Gear Solid adaptations may never happen.