Despite its initial failure, Tokyo Drift has impacted Fast & Furious in major ways, and the series could use another installment like it. “Didn’t these films used to be about street car racing?” has become an all too common refrain among Fast & Furious detractors over the last decade, and not without reason. In the beginning, the franchise always kept one foot planted firmly in the crime genre, with 2001’s The Fast and the Furious bearing more than a passing resemblance to Kathryn Bigelow’s hit 1991 crime-thriller Point Break. Similarly, the John Singleton-directed sequel, 2 Fast 2 Furious, borrowed more than a little from the interracial buddy cop movies of the ’80s when it arrived two years later.
Yet, as much as they were crime movies, these films were also about the street car racing cultures in urban areas like South Central Los Angeles and Miami. That continued to be the case with 2006’s The Fast and the Furious: Tokyo Drift, a sequel that took the franchise overseas to Japan for a story that (save for the very end) didn’t include any characters from the previous installments. Initially, the movie was a critical disappointment, and it still ranks as the lowest-grossing Fast & Furious film to date. Yet, in the years since then, Tokyo Drift has been widely reappraised, and is now seen by many as a key turning point for the property at large.
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With the upcoming Fast & Furious 10 (which could be a two-parter) due to end the mainline series, the Fast & Furious franchise will once again find itself at a crossroads in the next few years. And while there are already plans in motion to keep the brand going with multiple spinoffs after that (including, a sequel to last year’s Fast & Furious Presents: Hobbs & Shaw offshoot), the franchise would arguably benefit more from a Tokyo Drift-style installment. Before getting into that, though, it’s best to take a look back at Tokyo Drift and how the film’s reputation has changed over time.
Why So Many Fast & Furious Fans Love Tokyo Drift
Critics were generally unimpressed with Tokyo Drift when it premiered, and validly so, citing Lucas Black’s wooden acting as the film’s protagonist Sean Boswell, the one-note supporting players, and the lack of connection to the storylines and characters from earlier installments. Yet, there were also prominent critical voices who championed Tokyo Drift, with Roger Ebert praising the movie in his review, particularly the way it “uses its Japanese locations to make the story about something more than fast cars.” Moreover, despite the larger public’s waning interest in the Fast & Furious films at that point, those who did see Tokyo Drift seemed to by and large enjoy it, as evidenced by its A- CinemaScore.
Beyond that, Tokyo Drift introduced two important names to the franchise, in the forms of director Justin Lin and Sung Kang as the ever-cool (and always hungry) racer Han Lue. From the very beginning, Lin arguably brought a greater sense of sleekness to Fast & Furious’ car racing sequences than his predecessors had, along with a deeper appreciation for the series’ themes of found family and multicultural brotherhood. Tokyo Drift also possesses a sense of self-awareness that’s often lacking in the first two films, along with a plot that’s fresher and less derivative than those of the movies before it. This, in turn, set the stage for future sequels to go bigger and more ridiculous with their set pieces, but without losing sight of the simple character drama that makes Tokyo Drift surprisingly effective.
Fast & Furious Needs Another Movie Like Tokyo Drift
Presently, the Fast & Furious brand is more popular than ever, yet finds itself in a bit of a creative rut. By moving away from street racing to heist action with Fast Five in 2011, the franchise was not only able to find a wider audience, it convincingly evolved its core characters from everyday outlaws into, essentially, superheroes who come together every few years to battle mercenary terrorists, while at the same time saving one of their one (or, in the case of Furious Seven, avenging one of their presumed-to-be fallen brothers). Problem is, in doing so, the plots of the more recent movies have started to blur together a little, and the explanations for why Dominic Toretto and his family keep having to come out of retirement, time and time again, have only grown sillier, even by the property’s standards.
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For that reason, these films could stand to shake things up after Fast & Furious 10 closes out the primary Fast Saga. Indeed, that might be the perfect time for another installment like Tokyo Drift, e.g. a movie that explores a whole new street racing culture in the Fast & Furious universe while introducing several brand-new characters into the series’ canon. The franchise need no longer worry about ostracizing those who aren’t gearheads either; at this point, going back to car racing would probably come as a refreshing change of pace to the series’ more hardcore supporters, and possibly even allow the property to reinvent itself yet again. And if it’s done well, it would give the brand a new lease on life by bringing in a younger generation of actors to lead the next phase of Fast & Furious adventures.
Fast & Furious’ Future Should Be More Than Just Be Spinoffs
Just to be clear, this isn’t to say the franchise should make a direct sequel to Tokyo Drift; as important as that film ended up being to the direction of the overarching series, it’s served its narrative purpose and ought to be left as is. At the same time, Fast & Furious could use a new mainline storyline that unifies everything after Fast & Furious 10, as opposed to trying to get by with character spinoffs. The Hobbit & Shaw movies wouldn’t suffice in that respect, either: the first entry in that series has already laid the foundation for a whole new narrative separate from anything else Fast & Furious-related in the future (complete with a brand-new roster of sidekicks for The Rock and Jason Statham to lead).
This’s all the more reason for Fast & Furious to return to the Tokyo Drift formula (in a broad sense, anyway) and release a movie with similar ties to the greater franchise, but one that isn’t so tangentially connected that it might as well be its own thing a la Hobbs and Shaw. It wasn’t just the change in genre that allowed the franchise to expand its audience after Tokyo Drift, it was also the way it carried over that movie’s stronger elements (including, its style), while at the same time giving its overarching plot a clearer direction for viewers to become invested in following for years to come. A series of spinoffs would simply struggle to accomplish the same thing, and risk burning out the Fast & Furious fanbase along the way. In that respect, another Tokyo Drift, in a manner of speaking, could prove to be exactly what the series needs to keep its wheels spinning smoothly instead.
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