Notes

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Officially, the Fast & Furious franchise includes nine feature films, with the tenth along the way, and also a spin-off, Hobbs & Shaw (2019), which didn't please Vin Diesel at all. However, that's only portion of the story: true fans understand that the Gospel According to Toretto has spread through animated series ?Fast & Furious: Spies at Full Throttle (2017-2021)?, video gaming, an attraction in every the Universal theme parks and a couple of short films just for the very, very insiders.

The first of them gets the incredible title of The Turbo Charged Prelude for just two 2 Fast 2 Furious (2003) and is, well, a simple prelude to the next film, centered on how Brian O'Connor (Paul Walker) manages to evade the authorities. from LA until landing in Miami. https://www.fastxmovi.com/ was to determine a kind of connective tissue between the first two installments and fill a narrative gap that, in the end, consolidated Brian as the absolute protagonist of the story, since Diesel didn't want to return. Only promotional material designed for the web ?hence its aesthetic, almost worthy of a Sisq� online video?, although some North American cinemas showed it before 2 Fast 2 Furious to provide the public a far more complete experience.


While you won't find anyone defending The Turbo Charged Prelude for just two 2 Fast 2 Furious being an essential piece of mythology, things are very different when it comes to the second short. Los Bandoleros (2009), written and directed by Vin Diesel himself, introduces Tego Calder�n and Don Omar into the saga, two musicians turned actors who would be essential pieces in some subsequent installments, especially Fast 5 (2011). Not just that, but it addittionally details what happened to the characters of Dom and Letty (Michelle Rodriguez) after the original film, in addition to recovering Sung Kang's Han, whose friendship with the paterfamilias had been established by the end of Fast & Furious: Tokyo Race (2006). More than an interlude between movies, Los Bandoleros is a refoundation of the franchise, a new beginning where Diesel allowed himself to look at a far more poetic and relaxed tone, commensurate with the natural settings of the Dominican Republic (where he himself, a reggaeton enthusiast, insisted that ought to be set). It is not strictly necessary that you view it in your next fast and furious marathon, nonetheless it responds to the authorial vision of the primary creative engine of it. That makes it an interesting curiosity.


However, the story will not end there. Only the most dedicated to the cause know this, but there exists a secret, semi-official film that, because of director Justin Lin's ability to slip under Universal's radar, can be considered area of the experience. From the certain perspective, sure, but take our word for it: the crime dramedy Better Luck Tomorrow (2002) traces the origins of the character Han Lue, also played by Kang (can you envisage any other actor for the reason that role?). He and Lin have confirmed on multiple occasions that it's indeed the same character, so there is no reason, other than the obvious and boring copyright issue, to exclude her from canon. Actually, their presence transforms this cinematic universe right into a more expansive and richly nuanced place: it's funny to think that while Dom and Brian were meeting in downtown L.A., the characters in Better Luck Tomorrow were living their own ordeal just a couple of feet away. kilometers of distance.

The story of how this indie film found its way into F&F is fascinating enough to miss. When screenwriter Chris Morgan heard that Universal was available to suggestions for a third film in the series, he showed up at his offices with a pitch about how Dominc Toretto decides to go to Japan to research the murder of a vintage friend. Since Diesel had not been yet interested in returning to what would become his family ? he only wanted to make a brief final cameo following the studio gave him the rights to The Chronicles of Riddick (2004) ? Morgan contacted Justin Lin to assume a new protagonist. The director thought it could be a great opportunity to cast an Asian-American actor because the franchise's new hero, but the producers flatly refused, arguing that someone like Lucas Black would have more potential at the box office. Lin reluctantly agreed, asking them to at the very least let him revise the script to make it less "offensive and outdated" (those were his words).


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