Fast and Furious appears in an aspect ratio of approximately 2.35:1 on this 4K UHD Disc. No problems emerged in this solid transfer.
Sharpness remained positive. At all times, the flick came across as concise and well-defined.
I witnessed no signs of jagged edges or shimmering, and edge enhancement seemed to be absent. Source flaws also failed to materialize, as the film always seemed clean.
Like many modern action films, Fast opted for a heavy orange and teal orientation – so heavy, in fact, that skin tones often veered toward Oompa-Loompa territory. That overemphasis aside, the disc replicated the colors as intended, and the disc’s HDR added power to the tones.
Blacks also seemed deep and firm, while low-light shots showed nice definition. HDR brought extra range to whites and contrast. All of this added up to a terrific presentation.
Downconverted to DTS-HD MA 7.1, the DTS X soundtrack of Fast and Furious took advantage of its opportunities to shine. The action sequences especially opened up the mix to a broad and satisfying degree, so racing elements used the surrounds well and formed a fine sense of activity. Quieter sequences created a nice feeling of ambience, and music offered positive stereo imaging.
Audio quality was solid. Speech always sounded natural and concise, and I noticed no signs of edginess or other problems.
Music was bright and dynamic, and effects worked well. Those elements seemed clean and accurate, and they presented very nice bass response. This was a strong track that merited an “A-“.
How did the 4K UHD compare to the Blu-ray version? The DTS X track seemed a bit more involving, while visuals came across as better defined and richer. The 4K turned into a nice upgrade.
Only one extra appears on the 4K disc: an audio commentary from director Justin Lin. He offers a running, screen-specific discussion of story/characters, cars, action and stunts, effects, cast and performances, sets and locations, music, and connected domains.
Although Lin’s commentary for Tokyo Drift seemed mediocre, his discussion of this film proves much more satisfying. The director touches on all the necessary topics and does so in a lively, involving manner.
Heck, he even calls out a stuntman who lied to get the job! This becomes a very good chat.
Plenty of extras show up on the included Blu-ray Disc. A Universal staple, U-Control breaks into two areas.
“Virtual Car Garage and Tech Specs” pops up 10 times during the film and provides info about various cars we see. It gives us vital stats and also lets us check out CG representations of the vehicles in the “Garage”. It’s a mostly forgettable addition to the disc. (Note the “Garage” can also be accessed on its own from the “Extras” menu.)
More useful, “Take Control” offers an unusual form of commentary. Ala the “Maximum Movie Mode” found on WB discs like Terminator Salvation, this one allows both Lin and actor Paul Walker to occasionally come onscreen and chat about the film.
This allows them to reverse/pause the movie at times and accentuate different elements. In addition, “Take Control” includes previs footage and behind the scenes shots.
I like this kind of feature, and “Take Control” works pretty well. Lin and Walker interact with the movie well and give us a reasonably nice collection of insights, so “Take Control” deserves a look.
A Gag Reel goes for five minutes. It gives us a pretty standard collection of goofs and giggles, so don’t expect much from it.
A prologue of sorts, Los Bandoleros runs 20 minutes, 23 seconds. It acts as an intro for some of the characters we meet in the movie’s opening sequence and helps set up those events. It’s a fun little bonus film.
Within Under the Hood, we get two segments: “Muscle Cars” (6:55) and “Imports” (4:59). Across these, we hear from Lin, Walker, picture car coordinator Dennis McCarthy, producer Neal H. Moritz, and actors Vin Diesel, Laz Alonso and Michelle Rodriguez.
The “Hood” clips look at the various cars seen in the movie. A few facts emerge but the featurettes mainly feel fluffy.
Next comes Getting the Gang Back Together, a nine-minute, 50-second reel with Diesel, Lin, Walker, Moritz, Rodriguez, Alonso, screenwriter Chris Morgan, producer Michael Fottrell, and actors Jordana Brewster, John Ortiz, and Gal Gadot.
“Gang” looks at the reunion of the original movie’s cast as well as Lin’s impact on the shoot and general notes. This becomes another mediocre piece without much substance.
During the three-minute, 50-second Driving School, we hear from Diesel and driving instructor Rick Seaman. The show follows Diesel’s exploits under Seaman’s tutelage and becomes a decent glimpse of the actor’s training.
Shooting the Bid Rig Heist goes for nine minutes, 47 seconds and offers details from Lin, Moritz, Morgan, Diesel, Rodriguez, McCarthy, stunt coordinator Mike Gunther, set foreman Bill Schermer, 2nd unit DP Paul Hughen, special effects supervisor Matt Sweeney, 2nd unit director Terry Leonard, and actors Don Omar, Tego Calderon and Sung Kang.
As expected, we get the details related to the movie’s opening action scene. Though it comes with some good footage from the set, the comments tend toward the puffy side of the street.
After this we get Races and Chases, an 11-minute, one-second program with Lin, Moritz, Morgan, Fottrell, Walker, McCarthy, Diesel, stuntman Oakley Lehman, 2nd unit 1st AD Albert Cho, and VFX supervisor Thaddeus Beier. This one looks at stunts and action and does so in a competent manner, even if it leans toward hype a lot of the time.
With the 11-minute, 22-second High Octane Action, we locate notes from Lin, Moritz, Gunther, Leonard, Alonso, Walker, Sweeney, Schermer, stunt coordinator Freddie Hice, and stuntman Bill Lucas.
Again, we learn about action and stunts. Again, we get some nice shots of the production mixed with praise to create a decent but less than substantial piece.
Finally, South of the Border lasts two minutes, 55 seconds and provides comments from Fottrell, Ortiz, Lin, and Diesel. We get a few notes about shooting in Mexico along with happy talk in this largely forgettable piece.
A Video Mashup lets you create your own music video – I guess. A clunky feature, it didn’t work well on my setup so I bailed out of frustration.
Next we discover a music video for “Blanco” by Pitbull featuring Pharrell. It mixes movie clips, lip-synching and shots of hot women. Other than the ladies, it’s a waste of time – Pitbull must be one of the 10 most annoying people on the planet.
The set ends with four trailers. We find promos for each of the first four Fast and the Furious flicks.
Commercially, Fast and Furious reinvigorated a declining franchise. Creatively, it provides a collection of good driving scenes in search of a compelling story. The 4K UHD provides strong picture and audio as well as a nice collection of supplements. Fast and Furious becomes a watchable but unexceptional action experience.
To rate this film, visit the original review of FAST AND FURIOUS