Such a mix of tempers, egos and bald heads surely warranted a stand-alone entertainment of its own. That explains (sort of) the existence of 'Hobbs & Shaw.” Review by JustinCChang:
The first time Luke Hobbs and Deckard Shaw came to physical blows, in “Furious 7,” they wound up destroying an office building. It was an auspicious beginning, a kind of meet-cute for meatheads. The last time we saw them, in “The Fate of the Furious,” they were hanging out at a rooftop barbecue, having more or less buried the hatchet.
The appeal of a spinoff — a chance to explore a diverting new corner of a familiar movie landscape — is easy enough to see. Over 19 years and eight features, the “Fast & Furious” universe has expanded far beyond the hot-rod hijinks of the early 2000s to become something bigger and sometimes better: a mega-budget vehicular soap opera, a showcase for set-pieces that defy physics and common sense, a delivery system for swaggering banter and sincere, lump-in-the-throat emotion.
That would be Shaw’s estranged younger sibling, Hattie , a skilled MI6 agent who is reported to have double-crossed her team and made off with the virus. But before long she reveals herself to be the pawn of a nefarious global techno-conspiracy , one that will soon ensnare Hobbs and Shaw, branding them as dangerous fugitives in the media and sending them skittering from the chilly streets of Moscow to the sunny shores of Samoa.
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