Fast cars, hot bods, and killer stunts aren’t the only ingredients for a great movie. Overdrive is the latest proof of that.
Overdrive (2017 Film) Synopsis
Though half-brothers Andrew and Garrett are specialists in the theft of exotic cars, their latest caper goes awry when they steal a Bugatti of Jacomo Morier, a ruthless Marseille crime lord. In the face of certain death, the brothers attempt to appease Morier by offering to stage a heist for him. The proposed target: a priceless Ferrari 250 GTO. Why that gem: because it is the prized possession of Morier’s arch-rival in crime, Max Klemp.
Overdrive is a Fast & Furious copy. No other way to say this.
The movie itself is more than happy to acknowledge this resemblance by reminding in all promotional materials that Michael Brandt and Derek Haas wrote the story. Brandt and Haas are, of course, the writers for 2003’s 2 Fast 2 Furious.
Lead Scott Eastwood also recently played a supporting role in The Fate of the Furious. The first time I saw Overdrive’s movie poster, I actually thought the movie was a F&F spin-off.
In addition, many winning ingredients from the F&F franchise are here. Hot bods, exotic locations, high-speed chases, you name it. Beneath it all is also an elaborate heist, one that is reasonably intelligent with its end twist.
What’s sorely lacking, on the other hand, is the personality charisma necessary for such action stories to work. You know, the charming and witty dialogues that encourage viewers to suspend belief and just gulp down the fiery action delivered every other scene?
Eastwood tries hard but he uniformly comes across as stale i.e. flat and boring. Co-lead Freddie Thorp does a better job at being the chatty, excitable half-brother. Unfortunately, Thorp’s role just lacks the substance to enliven the entire story.
Meanwhile, the rest of the cast are singularly sexy, passionate, or villainous. They do a decent job overall, I’d say, but none are impressive enough to be any remedy for Overdrive’s blandness. By the middle of the movie, I was, sadly, yearning to leave the cinema.
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