Escaping to Heaven

Hobbs and Shaw

“Escaping to Heaven”

A Review of Fast and Furious Present: Hobbs and Shaw by Nick Olszyk

MPAA Rating, PG-13

USCCB Rating, A-III

Reel Rating, Four Reels           

                        Prior to seeing Hobbs and Shaw, I had only seen two of the eight movies in the Fast and Furious franchise. Yet even if I had seen none, I doubt it would have mattered much. Beyond establishing their characters, these narratives do matter in the slightest. This works to the film’s advantage as Hobbes and Shaw was considerably better than the other two. It is the perfect feature for a lazy summer afternoon: big explosions, awesome cars, witty one-liners, and just enough virtue to justify PG-13 action.

            The razor thin plot is laid out in first six minutes. Hattie Shaw (Vanessa Kirby of The Crown fame) is an MI6 agent sent to extract a deadly virus from a shadowy apocalyptic organization. When Ms. Shaw is betrayed, she injects herself with the virus and goes rogue. The American and British governments team up, hiring ex-CIA operative Luke Hobbs (Dwayne Johnson) and Hattie’s spy turned assassin brother Deckard (Jason Statham) to track her down and disable the virus. Following them at every turn is Brixton Lore (Idris Elba), a cybernetic soldier who bills himself as “black Superman.” The rest writes itself.

            Yet the formulaic elements of Hobbs and Shaw are perfect in its conformity. Elba’s classic “bad guy” is wonderful, constantly taunting them about his superiority and evolutionary inevitability, demonstrating that, even in 2019, fear of technological arrogance is still going strong. Hobbs and Shaw admittedly are less skilled in brains and brawn yet “strength is made perfect in weakness.” Shaw is not fighting for an abstract ideal but his sister. Hobbs also finds closure with his estranged family, who join his cause. No machine brain can defeat the human heart. When Brixton proves no match for the heroes, his “family” won’t stick by him.

            While the moral elements are commendable, the real star of the film – or any Fast and Furious entry – is the action. The stunt team has nearly as much screen time as the stars. There are daring escapes, numerous fist fights, extreme martial arts, and a car chase every ten minutes, including perhaps the world’s first helicopter/car/parasailing hybrid. Although violent, none of the action is gory or offensive, just cartoonish and delightful.

            Best of all is the incredible chemistry between the two leads. Think of Neil Simon’s The Odd Couple but with guns, muscles, and Ferraris. Hobbs comes from a poor Samoan family of racers and thieves. Shaw was groomed for success from a young age: highly educated, soft spoken, and always impeccably dressed. Hobbs is “a can of whoop-ass,” while Shaw is “a fine champagne.” What unites them besides fast cars and a mile-long police record is an appreciation for family and universal justice. They may be jerks, especially to each other, but they won’t let innocent people die.

            Hobbs and Shaw is simple, feel good entertainment, the kind of film everyone loves and enjoys but never seems to get any credit. There’s a strong moral core, but it isn’t preachy or ostentatious. There’s violent action but restrained and hyperbolic. The reason such gems are overlooked is the insidious label of “escapism.” They are only “fun.” Yet fun is deadly serious. Besides procreating, the first command God gave Adam was to “dress and keep the garden.” There was no need for sustenance since Adam was immortal, rather every material action was purely creative. It was done for “fun.” Entertainment harkens back to this original command. God attracts people to goodness by making it compelling. This desire is fallen and thus often abused, but enjoyment is still an eschatological sign. Hobbs and Shaw may escapist, but the viewer is escaping into the kingdom of Heaven.