Towards the beginning of Fast Five - fifth best in the series and began with The Fast and the Furious in 2001 - Brian (Paul Walker) is a freight train and Dom (Vin Diesel) is driving a 1966 Corvette Grand Sport next to it. The last possible moment before the train passes through a bridge over a river, Brian jumps off the train and landed on the Corvette, then off to Dom units, such as rock, a million feet. As the car falls into ravine, our boys jump out and land safely in the water.
Towards the end of Five Fast, Dom and Brian and their gang have pulled the bank-vault final blow: instead of breaking into time, which takes as a quillion dollars in drug money, diverting it from its moorings with pulling heavy cables connected to two police cars were stolen from the boys. With half of the current police force in pursuit of Rio, to pull the giant piggy bank in the middle of the road, for a total of almost every other car in their own way and create collateral damage on a scale almost holocaustal - as if the Brazilian seaside resort in Tokyo have been a monster movie of the 50s, and were once Goldzilla.
Towards the beginning of Fast Five - fifth best in the series and began with The Fast and the Furious in 2001 - Brian (Paul Walker) is a freight train and Dom (Vin Diesel) is driving a 1966 Corvette Grand Sport next to it. The last possible moment before the train passes through a bridge over a river, Brian jumps off the train and landed on the Corvette, then off to Dom units, such as rock, a million feet. As the car falls into ravine, our boys jump out and land safely in the water.
Towards the end of Five Fast, Dom and Brian and their gang have pulled the bank-vault final blow: instead of breaking into time, which takes as a quillion dollars in drug money, diverting it from its moorings with pulling heavy cables connected to two police cars were stolen from the boys. With half of the current police force in pursuit of Rio, to pull the giant piggy bank in the middle of the road, for a total of almost every other car in their own way and create collateral damage on a scale almost holocaustal - as if the Brazilian seaside resort in Tokyo have been a monster movie of the 50s, and were once Goldzilla. (See the top 100 films of all time.)
In a film that is sure to blast open the vault box office this weekend, these two chase scenes provide some amazing epiphany 'of modern films. And 'this: that kind of image in Hollywood makes better, the truth of the old cinema - the dialogue sharp, the characters in the round, as thin, a certain eloquence camera - are irrelevant. In a film like Fast Five, screenwriter (Chris Thompson) is less important than stuntwriter, who dreams up action sequences of dazzling complexity, and the director (Justin Lin) matters less than the second unit, which brings Destructo-kinetic life exciting fantasies. In Fast Five, all in a hurry, even the English subtitles for dialogue Portuguese scoot on and off the screen. makers of the film knows that the action is essential in this era of post-human film.
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