![]() That said, Cuban-born Ana de Armas (soon to be seen in Blade Runner 2049) radiates more kick-ass charisma than her thankless sidekick role might suggest. The two stars are blandly attractive eye candy, the villains cartoonish ogres with fortress-like villas and the female leads supermodel-pretty male-fantasy figures with implausibly geeky interests in cars and gadgets. The twist-heavy plot is totally preposterous and the trite dialogue could have been written by a computer algorithm, but the breakneck car chases are staged with kinetic efficiency, making excellent use of the dramatic gorges and mountain roads north of Marseille. Overdrive comes with all the standard features for this kind of cheerfully inane auto-erotic escapade. With French cops shadowing every move by both the thieves and mobsters, what could possibly go wrong? To avoid lethal punishment, the brothers rashly promise to purloin a priceless 1962 Ferrari 250 GTO from Morier’s even more brutal German rival Klemp (Clemens Schick). Their current base of operations is the sun-drenched French port city of Marseille, where they make the grave error of hijacking a 1937 Bugatti Type 57 that has just sold at action for $41 million to a notorious local crime boss, Morier (Simon Abkarian). Which still makes it smarter, leaner and cooler than any of the Fast and the Furious films it shamelessly mimics.Eastwood and his vapid pretty-boy Brit co-star Freddie Thorp play transatlantic half-brothers who finance their international playboy lifestyle by stealing high-end classic sports cars for shady clients. Untaxing as drama, thin as entertainment, but modestly enjoyable as a revved-up caper movie, Overdrive is pure escapist fluff with a light French accent. ![]() Fans of vintage Ferraris, Porsches, Bugattis, BMWs and more will also find plenty of buff bodywork to drool over here, since the film’s four-wheeled stars are lit and shot with more devotional attention to detail than even the most demanding Hollywood diva. And Eastwood’s increasing resemblance to his superstar father lends a kind of eerie second-hand cool to his sardonic squint and unruffled manner, adding a vague approximation of depth to a resolutely shallow screenplay, just as Clint himself brought a touch of class to his own mid-career Eurotrash vehicles like Kelly’s Heroes or The Eiger Sanction. ![]() Eastwood and his vapid pretty-boy Brit co-star Freddie Thorp play transatlantic half-brothers who finance their international playboy lifestyle by stealing high-end classic sports cars for shady clients.
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