Overdrive (2017)

Overdrive is the kind of sleek, sun-drenched escapism that understands exactly what it’s selling: gorgeous machines, clever thefts, and chases that thread through the South of France like a postcard with a pulse. Director Antonio Negret keeps the pacing lean and the stunts tactile, letting the action feel physical and immediate rather than weightless CGI noise, while Scott Eastwood and Freddie Thorp bring an easy, brotherly swagger that makes the caper fun to ride along with. Ana de Armas adds spark and presence, giving the film a bit of romantic heat and sharp-edged attitude amid the danger. It’s not trying to reinvent the genre—if you need deep character study, look elsewhere—but if you want a brisk, glossy thriller that runs on adrenaline, style, and engine roar, this one delivers.

Overdrive is trying to be a glossy, sun-soaked heist thriller where fast cars, pretty locations, and swagger do most of the talking, and on that surface level it occasionally delivers. The problem is it’s built from familiar parts—double-crosses, deadlines, tough-guy banter—and the writing rarely finds a spark, so the action can feel oddly low-adrenaline for a movie that’s literally about stealing dream cars. Scott Eastwood and Ana de Armas bring some watchable presence, and the South of France scenery is doing heroic work, but the tone can come off more joyless than fun. If you want a high-octane ride with sharp characters and real tension, this probably isn’t it; if you’re happy with a slick B-movie vibe and can coast on car porn and scenery, you’ll get enough to pass the time.