It’s clever, but not half as cool as Nicolas Winding Refn’s gorgeous, grisly Drive (2011 BFI Player), which took the brooding minimalism of Walter Hill’s 1970s gem The Driver (Amazon) and added a whole heap of neon nihilism to it. Edgar Wright’s lickety-split Baby Driver (2017 Netflix) is nothing if not a hot rod film for the 21st century.
#CAR FILMS MOVIE#
These days, practically every fast-car movie is a callback to something else. ‘The greatest, maddest car movie of all time?’: Mad Max: Fury Road. Recently, Le Mans ’66 (Virgin Go) – a beautifully crafted, minimally inspired, rock-solid dad movie – proved the genre has gas left in the tank. Twenty years later, Tony Scott and Tom Cruise’s noisy, exhausting but fleetingly beautiful Days of Thunder (Chili) was a bit worse. Le Mans (Amazon), made in 1970 with McQueen and a hint of docu-style authenticity to it, was better. The sprawling widescreen spectacle of Grand Prix (1966 Apple TV) merged the recklessness of racing cinema with the romanticism of the sports movie. The 1960s had taken fast-car cinema up to a sleeker, sharper level with the breakneck car chases of Steve McQueen’s hypercool cop thriller Bullitt (Apple TV) and the quirkier British hijinks of The Italian Job (Now TV), which retained some of Genevieve’s cuteness on a more high-octane scale. Meanwhile, illustrating the difference between US and UK driving cultures, the great British race car film of the era was the comparatively genteel, puttering, London-to-Brighton romp Genevieve (1953 BritBox).īy the 1970s, hot rod culture was already the stuff of nostalgia, as rosily reflected in the likes of American Graffiti (Netflix) and Grease (Apple TV). Want a classier, harder-boiled version? From the same year, Thunder Road (Amazon) fused the hot rod craze with the style of film noir, with a steely Robert Mitchum as a moonshine delivery driver whose jacked-up Ford keeps running afoul of gangsters. You can scarcely tell any more beneath all the brawn and gloss, but the blockbusters’ DNA can be traced back to such cheap and cheerful junk as 1958’s Gene Vincent-starring Hot Rod Gang (streamable only in dicey bootleg form) and any number of similarly titled films just like it, where the stories are as anaemic as the boy racers’ quiffs are voluminous.
I prefer the genre leaner, meaner and more grounded, however. It’s not as streamlined as its title might suggest running to two-and-a-half hours, and departing so far from the franchise’s original turf as to send cars into space, it’s a big, silly flexing exercise, but executed with just enough tacky panache to be fun. Now out on DVD/Blu-ray and non-premium VOD, F9 falls somewhere in the middle.
#CAR FILMS SERIES#
Last time, in the overlong, overpumped The Fate of the Furious (2017 Apple TV), you could sense the series spinning its wheels.
Sometimes, as in 2011’s sleek, snazzy Fast Five (Amazon), the engine fires on all cylinders. The films have since swollen pretty much beyond recognition, taking on ever bigger stars, ever loopier high concepts and ever more souped-up vehicles.
#CAR FILMS UPDATE#
Back then it seemed about as disposable a pleasure as any: a dumb, flashy, fluorescently shot update of the hot rod B-films of the 1950s, more a faintly retro novelty than anything else.
#CAR FILMS FREE#
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