Director: David Leitch Adventure Year: 2019 Audience Score: 147497 Vote Star: Vanessa Kirby, Jason Statham

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Fast & furious presents: hobbs & shaw sa prevodom. Fast & furious presents hobbs & shaw 123. Fast & furious presents: hobbs & shaw online sa prevodom. Terms & Conditions Privacy Policy - New Do Not Sell My Personal Information Feedback MOVIE PLATFORM © 2020 POWSTER © 2020 Universal Pictures. ALL RIGHTS RESERVED. Fast & Furious Presents: Hobbs & Shaw | Official Site | OWN IT. 20 nominations. See more awards » Learn more More Like This Action | Adventure Crime 1 2 3 4 5 6 7 8 9 10 6. 7 / 10 X When a mysterious woman seduces Dominic Toretto into the world of terrorism and a betrayal of those closest to him, the crew face trials that will test them as never before. Director: F. Gary Gray Stars: Vin Diesel, Jason Statham, Dwayne Johnson 7. 2 / 10 Deckard Shaw seeks revenge against Dominic Toretto and his family for his comatose brother. James Wan Paul Walker, 7. 1 / 10 Hobbs has Dominic and Brian reassemble their crew to take down a team of mercenaries: Dominic unexpectedly gets sidetracked with facing his presumed deceased girlfriend, Letty. Justin Lin Thriller 6. 6 / 10 Brian O'Conner, back working for the FBI in Los Angeles, teams up with Dominic Toretto to bring down a heroin importer by infiltrating his operation. Michelle Rodriguez 7. 3 / 10 Dominic Toretto and his crew of street racers plan a massive heist to buy their freedom while in the sights of a powerful Brazilian drug lord and a dangerous federal agent. 6. 8 / 10 Los Angeles police officer Brian O'Conner must decide where his loyalty really lies when he becomes enamored with the street racing world he has been sent undercover to destroy. Rob Cohen 5. 9 / 10 Former cop Brian O'Conner is called upon to bust a dangerous criminal and he recruits the help of a former childhood friend and street racer who has a chance to redeem himself. John Singleton Tyrese Gibson, Cole Hauser 6 / 10 A teenager becomes a major competitor in the world of drift racing after moving in with his father in Tokyo to avoid a jail sentence in America. Lucas Black, Zachery Ty Bryan, Shad Moss Comedy 6. 1 / 10 Meet a new kind of action hero. Six untraceable agents, totally off the grid. They've buried their pasts so they can change the future. Michael Bay Ryan Reynolds, Mélanie Laurent, Manuel Garcia-Rulfo Sci-Fi 7. 5 / 10 Following the events of Avengers: Endgame (2019), Spider-Man must step up to take on new threats in a world that has changed forever. Jon Watts Tom Holland, Samuel L. Jackson, Jake Gyllenhaal John Wick is on the run after killing a member of the international assassins' guild, and with a $14 million price tag on his head, he is the target of hit men and women everywhere. Chad Stahelski Keanu Reeves, Halle Berry, Ian McShane In Jumanji: The Next Level, the gang is back but the game has changed. As they return to rescue one of their own, the players will have to brave parts unknown from arid deserts to snowy mountains, to escape the world's most dangerous game. Jake Kasdan Dwayne Johnson, Jack Black, Kevin Hart Edit Storyline Lawman Luke Hobbs (Dwayne "The Rock" Johnson) and outcast Deckard Shaw (Jason Statham) form an unlikely alliance when a cyber-genetically enhanced villain threatens the future of humanity. Plot Summary Plot Synopsis Taglines: An unlikely alliance just became likely when a villain threatens humanity. See more » Did You Know? Trivia In one scene, Hobbs is wearing a t-shirt with the number 7 on it. This could be a nod to Dwayne Johnson 's production company Seven Bucks Productions. See more » Goofs During the end credit scenes, the clock on the wall behind Locke remains the same time, despite what is presumed an off screen battle. See more » Quotes [ first lines] UK Police Leader: All right, touchdown in two. Rules of engagement: electric rounds only. MI6 wants him alive for questioning. The target's in a metal coffer. Every agency and terror cell is looking for it. Crazy Credits There is an end credit scene in addition to the two mid credit scenes. The end credit scene involves Ryan Reynolds character talking to Hobbs on phone and the scene is the follow up of the first mid credit scene See more » Connections References Superman (1978) Soundtracks Time In A Bottle Written by Jim Croce Performed by Yungblud Produced by Chris Greatti & Zakk Cervini YUNGBLUD appears courtesy of Locomotion Recordings and Geffen Records See more » Frequently Asked Questions See more » Details Release Date: 2 August 2019 (USA) Also Known As: Fast & Furious Presents: Hobbs & Shaw Box Office Budget: $200, 000, 000 (estimated) Opening Weekend USA: $60, 038, 950, 4 August 2019 Cumulative Worldwide Gross: $759, 056, 935 See more on IMDbPro » Company Credits Technical Specs See full technical specs ».

Fast & furious presents hobbs & shaw 123movies. Fast & furious presents hobbs & shaw 123movie. Fast & furious presents hobbs & shaw kevin hart. Fast & furious presents hobbs & shaw song next level. Fast & furious presents hobbs & shaw bike. Fast & furious presents hobbs & shaw netflix. Fast & furious presents: hobbs & shaw full movie. Fast & furious presents hobbs & shaw (2019) hindi dubbed. Fast & furious presents hobbs & shaw. Fast & furious presents hobbs & shaw trailer. BEIJING, CHINA - AUGUST 05: Actors Jason Statham (R) and Dwayne Johnson attend the 'Fast & Furious:... [+] Hobbs & Shaw' press conference on August 5, 2019 in Beijing, China. (Photo by VCG/VCG via Getty Images) VCG via Getty Images This past weekend, we got yet another entry into the Fast and Furious canon with Hobbs & Shaw, which follows Luke Hobbs (The Rock) and Deckard Shaw (Jason Statham) as they separate from the classic crew. Another cog in the FFCU, the film continues expanding Fast and Furious universe that positions ordinary, everyday people as full-blown superheroes putting an end to terrorist ambitions. Hobbs & Shaw is yet another chance for audiences to experience the characters they've grown to love and root for since 2001. of. Actually, no—that's not really true at all. Right off the bat, I want to acknowledge that yes, I know: Hobbs & Shaw isn't necessarily a "failure" at the box office. The movie made $60. 8 million on its opening domestic weekend and approximately $120 million in foreign markets; it received an "A-" on Cinemascore; and it currently has a 90% rating on Rotten Tomatoes. Hobbs & Shaw embraced the high-octane action that made the Fast and Furious franchise so awe-inspiring and put international movie star Dwayne Johnson in the lead role—all of the elements were in place. Yet... $60. 8 million really isn't that much compared to the past Fast and Furious movies. That's less than what the fourth film, Fast and Furious, made back in 2009. And if we account for inflation, that's less than what The Fast and the Furious made in 2001 and what 2 Fast 2 Furious made in 2003. The only movie Hobbs & Shaw actually beat after inflation is the notable dud The Fast and the Furious: Tokyo Drift, which pulled in $24 million back in 2006. On top of it all, Hobbs & Shaw strolled into theaters backed by a whopping $200 million budget. That's more than any of the Fast movies, save for The Fate of the Furious 's $250 million price tag. Here's the difference, though: The Fate of the Furious opened to $98. 8 million domestically and—brace yourself for this one—$443. 2 million in foreign markets. So in just three days, The Fate of the Furious had accrued nearly $550 million, more than making up for the cost. It's a similar story for Furious 7, which made $147. 2 million on its domestic opening weekend and $250. 5 million in foreign territories. In total, that movie would make more than any franchise film with $1. 516 billion—which makes Furious 7 the eighth-highest grossing film of all time. Now what do you think of Hobbs & Shaw 's earnings? In 2019, when a movie like The Lion King can pull in $76. 6 million on its second weekend, Hobbs & Shaw 's inability to match seven of the other eight Fast and Furious movies—despite being fronted by three gigantic international movie stars—is kind of shocking. That is, unless, you're a huge fan of the series and you know what's missing from Hobbs & Shaw. I happen to be one of those Fast and Furious diehards. I would say that at least twice a year I run through every movie during a marathon session. My wife and so many of my friends love the franchise that it's inevitable. I always gape in aw during the safe-dragging scene in Fast Five; I always laugh at Roman's terrible dad-level jokes in 2 Fast 2 Furious; I always cry when Paul Walker receives his meta, heartfelt goodbye at the end of Furious 7 —I'm a full-blown, incurable stan that waits on the edge of his seat for a new Fast and Furious movie every few years. As corny as it sounds, one of the reason I love the Fast and Furious movies is the "family. " It's become a bit of a joke at this point, but several times each movie, Vin Diesel's character, Dominic Toretto, talks about the importance of family. And not just your blood family—he means the family you build around yourself. Your family is made up of the people who populate your existence and give your life meaning. Sure it's mawkish, but it's also such a heartfelt and pure message. It balances the crazy action and humor of the franchise and makes each film incredibly endearing and watchable. BEIJING, CHINA - AUGUST 05: Jason Statham (R) and Dwayne Johnson (L) attends the "Fast & Furious:... [+] Hobbs & Shaw" fans Meeting and China Press Conference on August 5, 2019 in Beijing, China. (Photo by Lintao Zhang/Getty Images) Getty Images Hobbs & Shaw.. 't really have any of that. I mean, it tries to. We meet Hobbs' family, and Deckard's growing familial universe adds energy to the mix. But I would argue none of its carries the delicate tone of other Fast and Furious movies. Universal tried to attach to the film to the franchise by titling it Fast & Furious Presents: Hobbs & Shaw —but longtime fans can see right through that in the trailer alone. Hobbs & Shaw wants to differentiate itself by becoming a cartoonish, exaggerated version of an already over-the-top franchise. But because of that, it's detached from that profound message that continually resonates in each Fast and Furious movie. That's what makes the Fast and Furious movies so successful at the box office. You can't fake that or put on a front—you have to earn that attraction over the course of several movies and masterful storytelling. The story that screenwriter Chris Morgan has weaved through all of the movies since Tokyo Drift is what people pay the price of admission for. The power of family became an interminable force in the Fast and Furious movies —in Hobbs & Shaw, "family" is mostly a joke. Sure Hobbs' family helps fight at the end, but that scene doesn't carry the symbolic, imagery-driven weight shown in The Fate of the Furious, when each character skids their cars in front of Dominic just before a fiery blast tries to consume him. Hobbs & Shaw doesn't create the kind of loving attachment to Brian that drove people to theaters after Paul Walker's death. The humor in Hobbs & Shaw is great and separates the latest franchise film from the pack, but it also comes at a cost. By poking fun at and playing lightly with a motif that has made the movies so powerful for so many people, you're going to lose interest from moviegoers—and I think we saw that exact thing happen this weekend. To be fair, Hobbs & Shaw hasn't had as much time to cultivate rich, complex family-oriented stories. But the trailer was a dead giveaway early on that the movie would only treat the classic Fast and Furious motif in a blockheaded manner. Before the movie even released, it had clearly advertised itself as anything but a continuation of the Fast and Furious story we've grown to know and love—the kind of story that dominated the box office. This becomes an important lesson for the Hobbs & Shaw franchise moving forward. The studio is clearly creating a whole separate universe for Johnson and Statham that will be full of the kinds of heroes and villains that make up the Fast and Furious world. Because of the well-publicized feud between Dwayne Johnson and Vin Diesel, it's more than likely those two won't be starring alongside each other in a film anytime soon. And because of that, they're going to pump $200 million into a Hobbs & Shaw movie. If Hobbs & Shaw can't come even close to Furious 7 's numbers on a much bigger budget ( Furious 7 's $190 million budget was inflated after reshoots due to Walker's death), where does the franchise move going forward? I think they need to fix this disconnect with audiences. The next Hobbs & Shaw film simply cannot avoid being sincere and genuine like the other Fast and Furious movies—or it'll cost Universal severely.

Fast & furious presents: hobbs & shaw torrent. Fast & furious presents:hobbs & shaw. Fast & furious presents hobbs & shaw google docs. Fast & furious presents hobbs & shaw hindi dubbed full movie. Fast & furious presents: hobbs & shaw review. Fast & furious presents: hobbs & shaw trailer. Hobbs Hobbs is an exacting man with an unwavering moral code, but he’s also a man who cut himself off from his family more than 20 years ago, for reasons he won’t explain. When his daughter becomes more curious about her family tree, Hobbs tries to dodge her questions, but events ultimately lead him back to his roots in Samoa, where he’ll be forced to face his past and make peace with his four brothers. Shaw Shaw, a cold-blooded black ops assassin, has family issues to deal with. Shaw has a sister, Hattie, from whom he’s semi-estranged. But when Hattie, an MI6 agent, goes rogue after trying to retrieve a top-secret bio weapon, Shaw tries to find her and get to her ahead of British and American intelligence forces, and before Hobbs, who’s also looking for her, unaware that she is Shaw’s sister. Brixton An indestructible super soldier, one of their first cyber- and mechanically-enhanced prototypes produced by Eteon, a global shadow organization that has perfected cyber-genetic technology. Brixton isn’t just a machine with artificial intelligence, he’s a brilliant man with formal military training and a background in covert operations, who can do everything better than anyone else. Hattie Hattie is a highly capable, badass MI6 agent whose bravery and commitment to her duty is peerless. She is leading a team sent to recover “The Snowflake, ” a mysterious vial that contains a lethal pathogen that, when weaponized, could wipe out a large portion of the global population.

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“Genocide, schmenocide, ” growls Idris Elba through a mouth of silver-capped teeth in “ Fast & Furious Presents: Hobbs & Shaw, ” a line that pretty much summarizes where the film stands in relation to reality, the English language and what old-fashioned moral philosophers (like “Leviathan” author Thomas Hobbes) thought of as the respect for human life, and the insatiable thirst for power. Here, in the extravagantly cartoonish ninth entry in the “Fast & Furious” franchise (sequel, schmequel, this is a stand-alone spinoff that requires no knowledge of the films that came before), Elba isn’t playing a human being, but whatever comes next: a kind of bionically upgraded cyber-villain with computer-enhanced eyeballs, bulletproof hands and an unwavering will to eradicate what this not-exactly-Shakespearean screenplay broadly describes as “the weak. ” Elba, a gifted actor with a capacity for making otherwise tired genre characters feel fresh and vulnerable, puts aside that instinct to embody the uni-dimensionally menacing Brixton Lorr — or “Black Superman, ” as co-writers Chris Morgan and Drew Pearce like to think of him, displaying once again their uncanny ability to boil complex concepts down to a pair of chuckle-inducing words. For their purposes, “the weak” refers to everyone but Hobbs and Shaw, whose combined skill set represent James Bond (circa “Moonraker”), Ben Affleck-era Batman and the WWE star formerly known as “The Rock” rolled up in one. As fans of the franchise may recall, Hobbs is the conspicuously over-muscled Samoan behemoth (i. e., Dwayne Johnson) brought on to embody American law enforcement as far back as “Fast Five. ” Jason Statham ’s Shaw entered the picture in the next film as the vengeful older brother of Luke Evans’ character, a suave loner and cocky Mockney mercenary who switches allegiances however best serves the series’ ridiculously convoluted plots. The previous movie, “The Fate of the Furious, ” tossed these two in a high-security prison together and forced them to team up to … well, to sell more movie tickets. Now, in “Deadpool 2” director David Leitch ’s hands, their combative chemistry has been filtered out, distilled and re-bottled as the main attraction. After helping fellow baldy Vin Diesel save the world, both characters have gone back to their respective corners: Hobbs rough-houses on behalf of the Diplomatic Security Service in Los Angeles (recognizable by its amber glow), while Shaw more elegantly humiliates miscreants over in neon-lit London, where something known as the Snowflake virus has gone missing in a heist that is loud, explosive and so astonishingly nonsensical, it basically demands that audiences switch their brains to the “off” position for all that follows. You may enter a film like this one believing you had some grasp of how gravity works, or the human threshold for pain, or what constitutes a good movie, but the experience is so exhilaratingly mind-altering, so radically untethered from terra firma, you have to readjust your basic understanding of everything you know to be true in order to tag along for the ride. Speed equals distance over time? That elementary physics equation may hold up in school, but the only rule that applies here is the faster the movie goes, the more audiences are willing to suspend disbelief. The only ingredient allowed to slow things down is humor, in ample supply from both Johnson and Statham, which serves to further dismantle such pesky questions as “Wouldn’t that have killed him? ” or “Why are we in Samoa again? ” Make no mistake: “Hobbs & Shaw” is fun, but it’s so ludicrously over-the-top, it makes the comic-book logic of your average Marvel movie look reasonable by comparison. Where it took the franchise’s ever-growing ensemble to thwart Charlize Theron last time around, the DSS and CIA have decided to force-partner that film’s most argumentative pair in tracking down what both agencies believe to be a rogue MI6 agent. Their target is none other than Shaw’s sister, Hattie (Vanessa Kirby), who had to inject herself with the Snowflake virus, lest it fall into Brixton’s hands. She alone knows what really happened, which is to say, that a “secret tech cult” known as Eteon wants to use the “programmable virus” — another howler from the script, intending to suggest that the movie’s blood-borne MacGuffin “can target any DNA sequence” — to wipe out humans and replace them with cyborgs. This, my friends, is where we’ve arrived with the franchise that began 18 years ago as a glorified street racing movie. Now, none of the characters from the 2001 original remains, but the guy who launched his acting career as “The Scorpion King” (that same summer “The Fast and the Furious” first revved its engines) and one of the hoods from Guy Ritchie’s stable (hairless as far back as “Lock, Stock and Two Smoking Barrels”) are running around — from London to Chernobyl to Samoa — trying to stop robots from taking over the world, pausing only to flex their biceps and insult one another’s masculinity. If that doesn’t encapsulate the state of blockbuster cinema as we know it, what does? That’s not to say “Hobbs & Shaw” should be viewed as some nadir of popular entertainment. Far from it. In stunt-guru-turned-helmer Leitch’s hands, the film is actually a highly accomplished cinematic feat, finding ingenious ways to convey its own ridiculously distorted ground rules such that audiences can understand the basic parameters of a sequence in a matter of seconds, dump whatever preconceived notions about how it might work in the real world and follow along with the exaggerated way the situation unfolds on screen. For example, in one scene, Brixton blasts out the windows of a high-rise, kidnaps Hattie and rappels down its 40 or so floors with a pair of SWAT-suited henchmen. Shaw takes the elevator (why does the building have an external elevator, and why is it waiting at the same floor? ), while Hobbs allows himself to fall down the sheer drop, landing on top of each of these goons in turn (what if he’d missed? ). It’s an entertaining but insane set-piece for those who didn’t think Johnson had gone quite far enough with “Skyscraper, ” apparently, and it’s just a taste of things to come, as these two characters multitask between bickering and blowing things up. It’s no easy task for the film to keep outdoing itself, and yet the crazy, stunt-driven action scenes that follow each pose a similar challenge, asking audiences to immediately wrap their heads around an unfamiliar situation: the way Eteon’s entire high-tech arsenal works (such that it obstructs the good guys at first, but can later be hacked and overridden), the idea that Brixton’s computer-aided eyesight helps him dodge punches (while introducing the weakness that eventually brings him down), etc. Leitch’s visual-storytelling solutions aren’t necessarily elegant, but they’re extremely efficient, and when compared with, say, the last five movies to win best picture, there’s a sense that he’s doing more to advance film literacy — while bludgeoning all other aspects of our intellect in the process. Such sophistication is only possible as a direct result of how far visual effects have come since the franchise began, allowing Leitch to stage “live action” scenes that would have previously only been possible as hand-drawn cartoons: a self-driving motorcycle that bends and folds around tight turns, a truck outracing a crumbling Chernobyl smokestack, a chain of four custom hot rods holding down a high-powered military helicopter. The violence, while explosive, veers equally far from the brutal, lethal-headshot style Leitch’s longtime collaborator Chad Stahelski pushed with their ultra-violent “John Wick, ” making “Hobbs & Shaw” a more youth-friendly enterprise — even if the stakes are infinitely more horrifying. In the end, the film’s stakes are less interesting than its potential. In a year when so many franchises are winding down — from “The Avengers” to “Star Wars” to “X-Men” — here’s one that’s expanding, and the film teases how that could continue from here. Series spokesman Vin Diesel has indicated that there’s a female-focused “Fast & Furious” stand-alone on the way, but this film hints at other avenues the team could take (spoilers ahead). It brings back Helen Mirren as Shaw’s mother, suggests that Eteon is masterminded by an old rival (represented only by a menacing digital voice for now) and introduces new characters in the form of Ryan Reynolds (who plays Hobbs’ erstwhile partner and self-anointed best friend) and Kevin Hart as an air marshall eager for some action. Don’t be surprised to see “Fast & Furious” presenting more of these characters down the road.

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