Like the everyday pizza it so closely resembles, the new Fast Five offers one thing and one thing only. Forget fancy toppings and artisanal crusts; sometimes you just want something round and reddish. This movie is that pie. And like Domino’s, it delivers.

If you remember The Fast and the Furious, the first entry in this 10-year-old franchise, you’ve already seen this picture. Like the four previous installments, Fast Five gives only the most minimal of nods to plot and characters, concentrating instead on high-end hot rods, screaming tires, and general vehicular mayhem. The stars, once again, are Vin Diesel, playing ex-con street racer Dominic Toretto, and Paul Walker, as ex-lawman street racer Brian O’Conner. Also on hand one more time is Jordana Brewster as Mia, who is both Dom’s sister and Paul’s girlfriend and, when pressed, a pretty fair wheel-girl, too.

This time out, the three leads have gone to ground in Rio de Janeiro, on the lam following the barrage of action that opens the movie. Their attention is soon drawn to a local crime lord named Reyes (Joaquim de Almeida), who disdains banks and instead keeps his ill-gotten multimillions in safe houses around the city. Dom and Brian want this money. To rip it off, Dom puts out a call to several actors who’ve been resting up from various earlier films, and soon we’re joined by a team of heist specialists that includes Tyrese Gibson, Chris “Ludacris” Bridges, and onetime Miss Israel Gal Gadot (whose prize-winning butt plays a key role in the proceedings). To reveal that this crew ultimately manages to separate Reyes from his money spoils, I’m sure, nothing.

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J.J. Abrams reboot of the much beloved “Star Trek” franchise is reminiscent of the films that came before, but not the best of them. Like the other odd-numbered disappointments, this entry, number 11, works best when concentrating on character, but falls flat due to a dull villain with nothing to do other than act as a macguffin. After a splendid first hour expertly sets up and re-introduces the characters, the second half turns as derivative as a video game with superb special effects supporting poorly choreographed and frantically edited action sequences that carry no suspense because the outcome is obvious and the personal human drama missing.

“Trek” opens with what turns out to be its best scene and one of the best in the franchise; the circumstances around the birth of James Tiberius Kirk. Our hero is well-served here with an imaginative and exciting mythology that shows the filmmakers understand the unique importance of the character. This sequence is also effective in setting up our villain, the Romulan Nero (an almost unrecognizable Eric Bana), who’s leaping about in time hell-bent on the worst kind of revenge against the Federation for something yet to happen. (more…)