Hobbs & Shaw: the five most boorish moments (which are also the best) | Cinema

That of Hobbs & Shaw is a particular project within the franchise of Fast & Furious. If you make the famous saga of Dominic Toretto and company, aim for each chapter in relaunching the spectacular component almost reaching the limits of the imagination, with cars that go into space and do stunts, the spin off changes its genre.

We are from the parts of a buddy movie crossed with a high-tech spy thriller with a villain directly from Robocop. An excuse, more than anything else, to leave room for the rivalry between The Rock and Jason Statham, respectively Luke Hobbs and Deckard Shaw.

The film isn’t particularly memorable unless you evaluate it with a yardstick of its own. Worse is better. The more unlikely the action, the better, the more cartoonish and loud the blows are, the more the ticket seems to pay off. You don’t need plot, you need machismo, beautiful women and cars and muscles to no end. The mission of Hobbs & Shaw it is precisely to invent peasant and exhibitionist action scenes. And then it is no coincidence that, with the arrival of the film on Netflix, before seeing it again they only remember a few scenes to shout at the screen “but who wrote these?“. They are also the best, of course!

So here are the five most absurd and “tamarri” moments and for which it is worth clicking play.

Brixton’s bike passing under a truck

We are still in a film by Fast & Furious, so the engines want their share. Brixton Lore is an agent of a terrorist organization who possesses an insane technological endowment. Drones, uniforms full of sensors to study the action, cybernetic implants that enhance the soldier making him practically an indestructible robot.

In the saga we have seen practically everything, but the shape-shifting bike is a very funny idea. During the chase in the streets of London even the vehicle flattens to pass under a truck but not only: it manages to cancel the effect of gravity for a few moments by overcoming obstacles practically in flight. Of course, it also has enough acceleration to make that of a McLaren 720S embarrassing.

The best sequences Brixton fights are those that see him supported by the vehicle. Even the bike picks it up from the ground going autonomously towards him. In any other film the idea would have been dismissed as that technology resembles something alien and not very credible. In Hobbs & Shaw it looks like a great visual idea.

Hobbs & Shaw

The grueling amount of references to greatness

Size matters and Hobbs & Shaw compete all the time for who has the biggest and toughest… muscle. The whole film is a buddy movie in which the only rivalry between the two protagonists is, however, in compensation. There are no major differences in the way of conceiving life, nor does the taste for cars change too much. Nerves jump for two reasons: one is the fighting style (we will see this shortly), and the other is purely testosteronic. There can be only one alpha male! Of course: alpha in version Fast & Furioustherefore attentive to the family or protective of the sister.

So one of the most embarrassing scenes goes around and somehow becomes bizarre and hilarious: the contest of insults between the two. Angry close-ups worthy of Inside Out, and away from the field and against the field with a crescendo of offenses. Ladies and gentlemen, David Leitch made a film about two big boys who save the world. Huge, pissed-off superheroes with a twelve-year-old character. It would have been a great idea for a 90s family film.

Hobbs & Shaw: Two gentlemen fighting in two different ways

After about 30 minutes of the movie The Rock lifts Vanessa Kirby with one hand. She does it after a long fight in which he has taken a lot of them. Because? Obviously because he was holding back. A gentleman! Later in the film Jason Statham will launch a car into the void and as it escapes the explosions by spinning on itself, he will shoot a drone and then land straight and continue the race. A move as clean as possible, without getting too upset.

The good deed is always history. And indeed in Hobbs & Shaw we discover more of the relationship between the two through their fists than through dialogue. In the most watched moment of the trailer, everything is already there. In the film it comes just before the middle. A fight that starts from the beginning of the building and reaches the ground. In a display of boorishness and hard faces, Hobbs does the big thing by launching himself from the palace. Shaw is British and does not break down. He takes the elevator. The whole sequence is a very long (almost) free fall just to throw rude gestures and insults.

The Tenet fighting between two doors and a glass

As in fairy tales, the heroes find themselves in front of two doors. Only they also have a device that allows you to see what’s inside via heat spectra. We repeat it: Hobbs & Shaw should be taken as Asterix & Obelix, Laurel and Hardy, Bud Spencer and Terence Hill in a tech key. A slapstick action fantasy. So it fits perfectly into the logic of the film that in the door on the right, Shaw’s, there are a lot of bad guys, while in Hobbs’s there is only one huge one (but it comes down in one fell swoop).

Fighting is not a problem and it is quickly solved. The two corridors are communicating through a glass. It already looks like Tenet. Except that here the path is linear. Needless to say: the two never miss an opportunity to challenge each other. In the end, once again, the proof that technology never helps. It’s bad stuff. So to open the door with facial recognition, Shaw leans the faces of the unconscious soldiers violently against the sensor until he takes the right one. The sequence ends with a pile of bodies piled to the side. Pure cartoon.

Hobbs & Shaw

Samoans against technology: let’s do it the old way

You cannot save the world if you have not first reconciled with your family. So Hobbs returns home and prepares a counter-offensive as they once did. The bad guys are equipped with hyper-technological equipment. The Samoans of muscle and anger. Here Hobbs & Shaw it becomes a mix between a territorial defense film, with the people equipped with rudimentary weapons (and machines that draw lines of fire) against the advanced invaders. There is also the speech before the battle. Devastating explosions. Motorcycles thrown at other people. The best of absurdity is yet to come: to stop a helicopter in flight, they harpoon it by tying it to a long chain of vehicles (ah, the importance of human relationships, of holding hands!).

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About David Martin

David Martin is the lead editor for Spark Chronicles. David has been working as a freelance journalist.

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