Almost every critic finds some relevant scene s/he describes in the body of a film review. The scene could be either overtly dramatic prompting focus on the characters or a given situation, or it could be blatantly (or subtly) comedic, or even casually stimulating. And then there are films like Fast and Furious 4, which has critics scouting their brains for a scene that defines the quintessence of the film only to fail miserably in the endeavour.

Probably the best sequence in the entire film is the one in the beginning that showcases Vin Diesel and Michelle Rodriguez and a couple of gasoline tankers on the outskirts of town and on a narrow mountain road.

Chronologically, the fourth outing of the popular videogame-like franchise is based (and sold) on the concept of a horde of scantily-clad women and outlandish vehicular mayhem in high octane racing sequences. And lest I forget, a grim, almost constipated-looking cast.

The film belts out a hackneyed, risk-free viewing experience that never escalates to the furiousness of the original part, or the idiosyncratic setting of the third (I`m not even going to mention the second film directed by John Singleton).

As the film progresses from its high-flying opening sequence that involves four gasoline tankers and a rag-tag group of racers led by the exiled Diesel, the film shifts gears in what is a drab practice of familiar, unambiguously foreseeable scenes that requires the least bit of clairvoyance on the part of the viewers.

Roger Ebert of the Chicago Sun Times writes in his review The screenplay rotates these nouns through various assortments of dialogue Race. Driver(s). Nitro. Meth. Sister. FBI. Border. Dead. Mexico. Murder. Prison. Traffic violations. Tunnel. Muscle car. Import. Plymouth. Funeral. Helicopter(s). Toretto. Ten seconds. Corona. Cocaine.”

The throw of words are logically inserted to induce a sense of naïve realism into the project. The screenplay by Chris Morgan is heavy on the returning characters of Dominic Toretto (Vin Diesel) and Brian O`Conner (Paul Walker) and infuses a semi-detached revenge saga which interludes within a drug cartel deal and underground racing.

Given the material — and the prosaic no-frills direction by Justin Lin (who did a better job on Tokyo Drift) — the acting required little motivation. Walker sifts through the film almost sleepwalking. Jordana Brewster, returning as Toretto`s sister and O`Conner`s love interest, is as serviceable as Lin`s direction and Michelle Rodriguez`s Letty (the veritable link that gives the reason to propels the story forward) is pretty good in her few brief scenes on the opening act.

The only worthwhile facet of the film is Vin Diesel. The actor`s charisma shifts through the hollow experience of the film as he brings a generous amount of weight to his character of Dominic Toretto — even if what he does do is furrow his unseen brow in a few scenes where he either quips or talks macho.

Fast and Furious 4 is rated PG-13 for scenes of rigorous, if un-involving, punched-up Nitro-ed car chases that massacres all traffic violation rules; with nary a cop in sight to enforce vigilantism. The rating also offers somber grimness and a safe-playing experience to gain its limited make-or-break box-office life. Vin Diesel, Paul Walker, Jordana Brewster, Michelle Rodriguez, John Ortiz and Laz Alonso star in this film directed by Justin Lin, written by Chris Morgan (based on characters by Gary Scott Thompson), and produced by Neal H. Moritz, Michael Fottrell and Vin Diesel.

And before anyone asks, yes, there really are chances of another installment of the franchise.