Friday Night Lights

There have been many, MANY football movies over the years and plenty classics from Remember the Titans to Rudy, We Are Marshall to Any Given Sunday. I've got a favorite though, and it isn't especially close. I watched it in theaters when I was in college, read the book soon after and have rewatched the film many times since. But it had been awhile so I was very glad to catch up with 2004's Friday Night Lights.

It's 1988. It's west Texas, and hopes are high in the town of Odessa where the local high school, Permian, has an epic tradition of success on the football field with the Panthers. Expectations are especially high this year for head coach Gary Gaines (Billy Bob Thornton) for the upcoming '88 season. The team is incredibly talented, returning a bunch of veterans, but most importantly star running back Boobie Miles (Derek Luke), a no-doubt future star in college and possibly the NFL. That seemingly perfect season though is undone almost immediately as Miles seriously hurts his knee in the Panthers' first game. Now, Gaines and the entire team must band together to figure something out, to turn things around and do it quickly. It isn't just pressure from within though. The entire town is putting a pressure over the team and program that hangs above the players and coaches like a dark cloud. Can they overcome?

'Friday' is based off the book of the same name by author H.G. Bissinger. He followed the team throughout the 1988 season, eventually writing the book that went on to become a lightning rod for good and bad. The book became more than just a story about sports, but about a west Texas town madly in love, devoted in obsessed fashion to their Permian Panthers. It delved into racism, politics and all sorts of deep-seeded topics. The movie streamlines much of those topics, zeroing in on the football, the head coach and the players who feel so much pressure to win and win big. Emotionally effective, often uncomfortably realistic, it's a gem.

Actor-turned-director Peter Berg has quietly built himself more than a solid reputation behind the camera over the years. This is his best work that I've seen. He films with confidence, giving the film a visual look that's incredibly appealing. During the football action, it is always on the move, with the players and coaches in quick, hard-hitting sequences. The colors are almost washed out, emphasizing Permian's iconic black and white -- simple, straightforward and classic -- uniforms. There are some touches that add that late 1980's feel but never to the point where you feel like you've been hit over the head with the idea. Just some jean jackets and bad hairdos and we're moving on. And also, the soundtrack from Explosions in the Sky, a post-rock band from Texas, the music quasi-trance, quasi-electronic but blending with the story in almost effortless fashion. An underrated, highly memorable score.

Three performances stand out from a uniformly positive cast. Thornton is a gem as Coach Gaines, a talented, bright coach who feels the weight of the town on his shoulders. A snide dig here, a menacing throwaway comment here. He pushes his players and pushes but knows when to pull back a little. Next up, Lucas Black as Mike Winchell, the QB who struggles with pressure and is just a nice, quiet kid who happens to be a good football player. Gaines and Winchelll's relationship is fascinating, coach-quarterback with a touch of father-son mentality. Black is a subtle scene-stealer here, Winchell always being my favorite. Last but not least, Luke as Boobie Miles, the star running back with confidence and cockiness to burn. It's only after his injury we see the true Boobie, including a heartbreaking scene with his uncle, L.V. (Grover Coulson).

The focus is on a handful of players so also look for Don Billingsley (Garrett Hedlund), the fullback who struggles with fumbles, Brian Chavez (Jay Hernandez), the safety who's already been accepted to Harvard, Ivory Christian (Lee Jackson), the almost silent defensive end dubbed 'Preacher,' and Chris Comer (Lee Thompson Young), the third string running back thrust into a far bigger role when Boobie goes down. Also look for Connie Britton as Sharon, Gary's wife who supports her husband through thick and thin.

As a sports movie, 'Friday' is epically successful. What helps it rise above so many other like-minded sports movies is the portrayal of the town and the pressure placed on these high school football players, just teenage boys when it comes down to it. It is almost a cult, an obsessed following begging the kids to win...but it's more than begging. It is an obsession that pushes everyone involved with the program to the brink. Any and every sports team ever WANTS to win, but that is an inward pressure. This is a community that lives and dies with the Panthers, almost defying them to lose. We see that in most frightening fashion in Don's father, played to creepy perfection by Tim McGraw.

Too many good moments to mention. The football scenes crackle with energy and adrenaline. Thornton's Gaines delivers one great speech after another, especially in the finale pre-game. My favorite has him quietly delivering a message to Winchell before a key turning point, smiling and stating "There ain't no curse." Boobie's breakdown with his uncle is heartbreaking as we finally see who he is, not all the sports cockiness. Mike's continuing struggle to live up to expectation, and my goodness, that ending. Just too perfect. If there's any advice I can offer, it's this. Don't go looking on Wikipedia for the true story. If you haven't seen it, go in fresh and enjoy the ride throughout. A sports classic.

Friday Night Lights (2004): ****/****

Furious 7

When I think back to the first time I watched 2001's The Fast and The Furious -- probably about 13 years ago -- I remember liking it but not loving it. I can safely say I never thought that six movies later the franchise would be stronger than ever, and that I also would be disgustingly excited for each new entry. I've been counting down the months, weeks and days until the latest franchise entry. Maybe you've heard of it, a little movie released in theaters this past weekend, Furious 7.

Having put their mission in England and Spain behind them in putting away Owen Shaw, Dominic Toretto (Vin Diesel) and his crew of street racers and drivers have moved on. Well, that's the plan at least. Having moved back to his old stomping grounds in Los Angeles, Dom, friend and partner and crime, Brian O'Connor (Paul Walker), and his sister, Mia (Jordana Brewster) barely survive an explosion from a bomb sent their way by Shaw's older, more dangerous brother, Deckard (Jason Statham). Worse than that? Their friend, Han (Sung Kang), has already been killed by Deckard who has vowed to dispatch anyone involved in the attack on his brother. As if the younger Shaw hadn't been good enough, now Dom, Brian and the crew are going up against the very best. Their best hope of getting Shaw before Shaw gets them? Teaming up with a government agent who knows the perfect way to bring that confrontation into reality.

Let's start with the uncomfortable. Star Paul Walker tragically passed away in November 2013 as filming was in high gear for this action-packed sequel. His death left the production in a troubled state. Should they continue on or abandon the project? How would the Brian character be treated in terms of a send-off? In stepped Walker's brothers Caleb and Cody who helped stand in for their brother in scenes that hadn't been filmed yet. Some brotherly look-a-likes, some quick CGI work, yeah, it stands out at times the scenes Walker wasn't there, but it's never distracting. Is it a difficult movie to watch at times knowing it will be Walker's last? Hell yes, but it is a fitting send-off for an incredibly likable actor and movie star.

The movie itself, well, it continues on without missing a beat. In steps director James Wan, replacing Justin Lin who had directed the last 'Fast' entries starting with 'Tokyo Drift.' I was a little wary, but Wan follows the formula that's made these movies so successful and amps it up quite a bit. The biggest compliment I can give here is that this is the type of fun, ridiculously over the top entertainment that movies SHOULD be. These movies are F-U-N from beginning to end. 'Furious' is the longest such entry at 137 minutes, but it never even remotely feels long. The pacing and story actually fly by. It's far from the most pointed story and drifts along with crazy action sequences filling in the blanks, but you go along for the ride. Pun intended by the way. This is a popcorn movie at its absolute freaking best.

Yes, the action is ridiculous and will be discussed later. I have thought and continue to think that the heart of these movies is the characters. Seven movies in, you're familiar with them. You like them and you're rooting for them. That starts with Vin Diesel as Dominic Toretto, the team's leader, a philosophizing, growling street racer who holds family and loyalty above all else. Mess with his family and brace to incur his wrath. The most important relationship is between Dom and Walker's Brian, a brotherly relationship that has gotten better and deeper with each passing movie. These aren't the youngsters of 2001's original film. They're a little older, a little wiser, but they're still two of the best, most skilled drivers around. Their dynamic throughout is the real heart of the movie, two friends off-screen who allow that friendship to carry over onto the screen.

But wait, there's more! Basically the whole team is back. Unfortunately Dwayne Johnson isn't around much for his part as muscle-bound, one-liner spewing Agent Hobbs. He's there at the beginning and end but not the middle. When he's there, it's prime stuff. He just brings an energy to the character no matter how long he's around. Along with Brewster's Mia, Michelle Rodriguez, Tyrese Gibson, and Ludacris are all back. Rodriguez's Letty is slowly getting her memory back and gets some surprisingly effective scenes with Dom about their past. Tyrese as fast-talking jokester Roman Pearce and Ludacris as tech and hacker extraordinaire Tej provide some comic relief, a one-two punch who consistently get laughs from their bickering back and forths. Kang and Gal Gadot make quick appearances in footage from the previous movies and in a cool touch uniting the seemingly disjointed timeline of the franchise, Lucas Black reprises his role from Tokyo Drift as young driver Sean Boswell. Just a fun cast who are familiar with their characters and continue to bring them to life.

What would a successful franchise be without some fresh blood? Expanding on his surprise appearance at the end of 'F+F 6,' Statham has some fun as Deckard Shaw, a brooding, menacing villain who isn't given much to do other than pop up and wreak havoc at the least opportune time. I wish he was given more to do, but it's Statham in villain mode. That's rarely a bad thing. Other new faces include Nathalie Emmanuel as Ramsey, a world-class hacker, Djimon Hounsou as an international terrorist and Tony Jaa as his brutal enforcer, and UFC fighter Ronda Rousey as a bodyguard who tangles with Rodriguez's Letty. My favorite new part? Kurt Russell having a blast as Mr. Nobody, an incredibly capable, dangerous government agent who teams up with Dom and Co. to bring Shaw to justice. Russell is smiling almost every scene he's in, and it looks like he's genuinely having some chaotic fun.

Most movies would be hard-pressed to improve on the action of its two predecessors, Fast Five and Fast and Furious 6. '7' manages to do just that. The action is flat out, over the top, ludicrously nuts, never possibly exist in this reality type of action. Car chases in abundance, Statham taking on Hobbs early and then Diesel in the finale, Rodriguez and Rousey tearing each other up (in some classy gowns at that), it is all NUTS. It works though because the story and characters commit. It never plays out like a spoof. So yes, there's cars dropping out of a plane and parachuting to take down an armored convoy. Yes, the attack is nuts. Yes, Dom and Brian crash from one skyscraper to another....and another in Abu Dabi. The finale itself is probably about 30 minutes long and just a smorgasbord of excessive action on the streets of Los Angeles. Car chases, fist fights (with wrenches), helicopters and missile-loaded drones....and very few cops in sight. Go along with it and have some fun.

I read heading into this sequel that Wan and Co. filmed a poignant tribute to Paul Walker for the finale. Yeah, about that...it's a perfect, moving ending. And no, those aren't tears in my eyes. I'm allergic to something, anything, whatever. Don't Judge Me!!! The final scene and a quick montage of Walker's involvement in the series is beyond a perfect send-off to the very popular movie star and actor. If this is the end of the series, so be it. This was a more than worthy finale. If it isn't -- supposedly there's at least 2 more sequels coming -- I'll welcome them with open arms. This is that rare series that has gotten better in the second half of its run. Judging by the box office money on opening weekend, I'm not the only one to feel that way. It made $400 million this weekend internationally. 400 MILLION!!!! That perfect popcorn movie and a fitting finale for Paul Walker's Brian O'Connor character.

Furious 7 (2014): ****/****

42

There are names of star athletes in sports and then there are star athletes. Maybe the most influential athlete from the 20th Century, Jackie Robinson broke the color barrier in major league baseball, becoming the first African American man to play in the majors when he debuted with the Brooklyn Dodgers in the 1947 season. Robinson played himself in a 1950 movie about his life, but some 60-plus years later, he's gotten a major studio bio-pic release, 2013's simply and appropriately named 42.

Returning home from serving in World War II, former UCLA athlete Jackie Robinson (Chadwick Boseman) begins playing with the Kansas City Monarchs in the Negro Leagues. Major League Baseball has been segregated, forcing black players to play in their own leagues. As owner of the Brooklyn Dodgers though, Branch Rickey (Harrison Ford) is ready to make a major decision; he wants to sign Jackie with the organization, and hopefully he can one day make the big leagues, breaking the color barrier. Ready to step into a horrific racially-charged storm, Robinson spends a year with the Montreal Royals, the Dodgers' minor league affiliate, but he's on the fast track for the Majors. Rickey picked Robinson for a reason though, believing and hoping that Robinson can not only play baseball but handle the constant jeering and ridicule from not only fans, but others teams, players and coaches.

I love sports, but for me, baseball has always been the best. I don't know if there's a better story in baseball history than that of Jackie Robinson becoming the first African American player to play in the big leagues. Director/writer Brian Helgeland does a fine job avoiding the pratfalls of doing a bio-pic about such a famous person. You want to tell the honest truth, but at the same time you don't want to make a dull, whitewashed version of that person's life. In that sense, Helgeland is working with an advantage. As a person, as a character, however you interpret it, Jackie Robinson is a very likable, very sympathetic and very interesting man. If you didn't know any better, you would think this script exaggerates what he went through but....nope. This was the very realistic and scary truth. Robinson dealt with racial jeers on the field and in the dugout at times while also dealing with death threats against him and his family. It's hard to comprehend that one man was able to handle so much.

A relative unknown with more TV shows to his name than feature films, Boseman does a fine job in bringing Jackie to life on-screen. He shows that fire and pain within Robinson as he deals with such extreme pressures all around him but never overdoes it. In one uncomfortable scene, he unleashes his emotions in the hallway leading back to the Dodgers clubhouse. Other than that, Boseman does a lot without doing a lot at all. It's a physical performance, not a really talkative one. His Jackie is confident about his abilities but struggles to overcome more internally than externally. He has to keep so much frustration inside that it's hard to believe Robinson really did this in real-life. The story is at its best focusing on the baseball, the background with his wife, Rachel (Nicole Beharie), the slower portions of the story. It helps add another layer to Jackie, humanize him on top of the baseball player, but the scenes aren't as interesting as the rest of the flick.

Another essential part for this story is casting Dodgers owner Branch Rickey, a real-life character if there ever was one. Harrison Ford absolutely nails the part. I don't know if he'll get an Oscar nomination or anything for his supporting part, but it's perfect. He's honest, admitting he wants to make money while also later revealing some of his real motivations for trying to integrate baseball. Christopher Meloni is solid as Leo Durocher, the Dodgers manager, with Toby Huss and Max Gail also playing assorted coaches in the Dodgers organization. John C. McGinley has a quick but effective part as Red Barber, the Dodgers radio play-by-play man, bringing that voice to life in his few scenes. As for the Dodgers, we get Lucas Black as Hall of Fame shortstop Pee Wee Reese, Hamish Linklater as All-Star pitcher Ralph Branca, Ryan Merriman as Dixie Walker, a teammate who resents having to play with a black player, and Jesse Luken as Eddie Stanky, a fiery player who comes around to having Jackie as a teammate. 

The movie overall has a lot going for it, some of it easily attributable to the look and feel of the movie. Ebbets Field, Shibe Park, Crosley Field and Forbes Field were all classic baseball stadiums recreated with CGI digital imagery for all the baseball scenes. The CGI use is seamless, a thing of beauty to watch. It's the look of the games and stadiums, the rabid crowds to the supportive fans, the bus trips to walking around town. All those little things come together nicely. Mark Isham's score is okay but nothing special, leaning more toward triumphant hero music than is necessary.

With an episodic story that covers two-plus years of Robinson's life -- and covering a whole lot of ground with a whole lot of characters -- there are certainly some moments that just resonate more than others. Much of that strength comes along in the second half of '42' when Jackie makes it to the Dodgers. We see the downright nastiness of a rival manager (Alan Tudyk) verbally abusing Jackie during a game. The counter is those who come to Jackie's defense. Luken's Eddie steps up for Jackie, knowing Jackie just can't respond. I loved Linklater's Branca approaching Robinson about why he doesn't shower with the team. I loved the relationship that develops between Jackie and Wendell Smith (Andre Holland), a black reporter dealing with the same things as Jackie, albeit on a much smaller scale. My favorite scene was when Black's Reese realizes the depths of what his teammate has gone through. He approaches him on the field, putting his arm around him to show all his friends and family back home that the color doesn't matter. They're teammates. He ends it nicely, stating 'Maybe tomorrow we'll all wear 42 so no one can tell the difference.'

It's a nice moment considering MLB now honors Robinson once a year by having players around the league to wear jerseys with the No. 42, Robinson's number and the only number retired across baseball. I think that's part of why this film works so well. Part of the charm of baseball is the history, the stars, the personalities, and Jackie Robinson is one of the best. The movie isn't perfect, but it gets better with each passing scene, ending on a great note. Sports fan or not, this one is highly recommended for everyone.

42 (2013): *** 1/2 /****

All the Pretty Horses

If I had to sit down and make a list of my top 10 or 20 favorite movies, it's a safe bet that about half of them would be westerns in one form or another.  Most of those are typical westerns, stories set between the end of the Civil War and through the first 10 or 15 years of the 20th century.  A smaller class of westerns is the modern western, movies like Lonely Are the Brave, Hud, Three Burials of Melquiades Estrada and Brokeback Mountain -- among many others.  Maybe because these aren't based in the romantic old west there aren't as many, but an example of a good one is 2000's All the Pretty Horses.

Based on a Cormac McCarthy novel, it is a story of what the west used to be and longing to be a part of it.  It is an interesting movie because it tries to be a western of the 1960s and at the same time is an anti-western, playing against many of the genre's tendencies.  McCarthy's novel is an interesting read, but one that I questioned how it would be translated to the screen in the same way I wondered about The Road.  Dialogue is sparse, imagery is heavy, and parts of the storyline demand audiences to make conclusions on their own.  If that's not a recipe for success at the box office, I don't know what is.  Making it worse, director Billy Bob Thornton turned in a finish cut somewhere between 3-4 hours only to have it cut down to 2 hours.  A good jumping off point if there ever was one. 

It's 1949 in San Angelo, Texas not far from the Rio Grande and the U.S./Mexico border.  Young John Grady Cole (Matt Damon) and childhood friend Lacey Rawlins (Henry Thomas) decide to mount up one day and ride south into Mexico.  They don't have a goal or destination in mind, they just want to see what life offers.  Along the way, they meet a 12 or 13 year old kid, Jimmy Blevins (Lucas Black) riding a horse he claims is his, but John and Lacey remain suspicious, especially Rawlins who says they should leave him behind.  Both with some experience as cowboys, Cole and Rawlins find work at a Mexican ranch owned by Hector de la Rocha (Ruben Blades), a very rich, very powerful man.  Cole immediately falls for Rocha's daughter Alejandra (Penelope Cruz), but that's just the start of their problems as Blevins pops up one more time.

First off, any movie that is cut by an hour-plus is almost doomed to struggle in its storytelling.  A 3-hour version seems appropriate having read the book to really dive into the characters, the setting, and the story.  McCarthy's novel itself is episodic, never staying in one place too long before moving on.  The movie is the same way, but each of these smaller episodes isn't given enough time to breath and develop -- something I'd most likely attribute to those studio-forced cuts.  It's a road picture and a buddy movie (without the laughs) that is also a mystery, a romance, and a prison movie.  Try fitting all that into two hours and you get a somewhat disjointed story that understandably can be a little confusing.

Where the movie does succeed is in the visuals and the casting.  Working with cinematographer Barry Markowitz, Thornton makes the Texas border country and Northern Mexico (Texas and New Mexico locations) a treat to look at.  Anyone who thinks Texas is one big desert should watch this movie and then reevaluate their opinion.  The camerawork is full of color and shots that drift just long enough to let you take all the scenery in.  There was also apparently a dust-up about the musical score, but the one that made it to the final cut is a perfect fit, full of Mexican-themed guitar and a softness and intimacy to it that is about as soothing as a score can be.  Some critics complained that the cinematography and music was too self-indulgent, but I loved both aspects in giving the movie a deeper level.

Even though he was 30 years old making the movie, Damon still looks to be about 15, maybe 20 here, which is appropriate because his character is about to turn 20 years old.  I've always been a fan of Damon, and this part is a good example of his on-screen persona.  He does a good job inhabiting these characters without taking over the movie.  His Cole is likable, honest, loyal, and a good friend even when it'd be easier to turn tail and run.  With Thomas, he has a good, easy-going chemistry that two longtime friends would have.  Black is a scene-stealer as Blevins, I just wish he was in the movie more (I had the same request in the book).  Cruz -- besides being drop dead gorgeous -- makes the most of an underwritten part that requires her to look good.  Too bad because her Alejandra in the book is much more developed.

The supporting cast is beyond solid, especially Blades as ranch owner Rocha, a man who bonds with Damon's Cole through their love of horses.  Miriam Colon delivers in a quick two or three scenes as Alejandra's aunt looking out for her best interest. Julio Oscar Mechoso is perfectly evil as a Mexican captain of police, so subtle in his ways he doesn't come across as evil until you really listen to him.  Also making one or two scene appearances are Robert Patrick as Cole's father, Sam Shepard as J.C. Franklin, his lawyer, and Bruce Dern as a judge looking for the truth in Cole's adventures and misadventures.

This is a movie that certainly isn't for everyone, but I would recommend reading McCarthy's novel before checking it out.  It tends to explain things a little more smoothly and fills in some of the pieces that the movie was missing.  Of course, it's hard to fault Thornton in his directing.  Maybe his original version showed and explained these things I've brought up.  Hopefully so and there's a director's cut floating around out there somewhere.  Until then, at least check the novel out and give this maligned modern western a try.

All the Pretty Horses <----fan-made trailer (2000): ***/****

The Fast and the Furious: Tokyo Drift

I'm a sucker for movies about or dealing with cars. It doesn't even have to be the main storyline, I just need a good chase like Bullitt or The French Connection. One of my favorite movies as a kid, and I do still like it, was The Love Bug. I know little to nothing about cars other than hitting the gas pedal makes them go, but that doesn't mean I can't appreciate them. Like the Fast and the Furious series, which I can admit are not good movies but they sure are entertaining.

Since its release in 2006, I avoided The Fast and the Furious: Tokyo Drift like the plague. None of the original cast was in it, but rapper Bow-Wow was, and it seemed like a cheap ploy to capitalize on a hugely successful franchise. Well, after hearing a couple positive reviews from people I typically agree with on movies and seeing the 4th movie in the franchise this week, I gave Tokyo Drift a shot. It's not as good as the other three movies in the series and could easily be it's own stand-alone movie but with the 'Fast and Furious' title it will always be compared to the others.

Credit is due though for not just doing the same old thing with street racing. Director Justin Lin, who also directed Fast and Furious, introduces us to a new style of driving/racing called drifting which if you've played any number of racing games you should be familiar with it. It can be odd to watch cars drift because it seems they're totally out of control, but as the special features on the DVD point out, the driver is actually more in control to get the car to move like that. Drifting is quite a visual sport for fans as drivers make crazy turns around corners and into places you'd assume they could not fit.

The racing sequences here are pretty good and not overly reliant on CGI and green-screen shooting. The special features show how the cast went through drift training so that even if they weren't required to do the actual driving in the movies, it looked realistic when they were actually filmed in the car. Here's a great example from the movie of some drifting with one big SPOILER though at the end. Another positive is that Lin doesn't cut these scenes so quickly that the images become incoherent. I've bitched and moaned about it before with the quick-cutting fight/chase scenes so I won't go over it all again, but if you want the viewer to be impressed with what's going on on the screen, show it to us. Don't cut so quickly that we can't tell what's going on. Tokyo Drift is a prime example of how good a sequence can be when done right.

With no Vin Diesel, Paul Walker, or Tyrese here, the story focuses on Sean Boswell (Lucas Black), a high school student sent to live with his Navy dad (Brian Goodman) in Tokyo after he's gotten in trouble with the police again. His options? Tokyo or juvy. Adjusting to his new life in Japan, Sean gets involved with street racing, drifting, right away. But in his first race, he destroys the car and has to work for the owner, Han (Sung Kang), a top of the line drifter/racer who's also into some seemingly shady business deals with D.K. (Brian Tee). D.K. is low-level Japanese mafia working for his uncle. Bullheaded and stubborn as always, Sean wants to learn how to drift with the tension building to the inevitable confrontation with D.K. after some shenanigans.

The only cast connection to the other movies is Kang's Han character who is in the 4th one too. Tokyo Drift is actually the 4th movie in the timeline, coming after 'Fast and Furious.' I've liked Black a lot since I saw him in Friday Night Lights, and he's a good lead, if not great, as Boswell. With his Southern drawl, Black comes across naturally onscreen and looks to handle a lot of the driving himself. Bow Wow is surprisingly good as Twinkie, another American who becomes friends with Sean. Not much is required of the part, but if done poorly it could have been really bad. Kang and Tee provide some tension as the good and bad opposites, especially Kang's Han as Sean's drift teacher. And as the requisite love interest, Nathalie Kelley plays Neela, D.K.'s girlfriend of sorts who Sean sets his targets on. Like Bow Wow, she makes the character likable/sympathetic instead of being the whiny, helpless girl in the background. And it never hurts, looks good doing it.

SPOILERS ahead. Stop reading if you don't want to know about a cameo at the end. One other connection worth mentioning to the other three movies. Sean defeats D.K. (I was surprised too *wink*) and prior to racing gets a message that an old friend of Han's wants to race him. Cue Diesel's very brief appearance as Dom Toretto. It doesn't really serve a purpose, but it is cool to see him come back since leaving after the original. The connection is made early in the 4th movie if you're dying to know.

Which brings me to hopefully the fifth movie in the series. How about Diesel, Walker, Tyrese and Black team up? I don't know how it'd work or where the story would go, but it would definitely be cool to see all four team up. Final thoughts on Tokyo Drift though, entertaining movie that while not as good as the other three, is a worthy entry into the Fast and Furious series. It doesn't deserve some of the abuse its taken since it was released in 2006.

The Fast and the Furious: Tokyo Drift <----trailer (2006): ***/****