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The eight-movie, 16-year history of the “Fast and the Furious” franchise is nothing less than the story of Hollywood filmmaking in the 21st century. As a scrappy, overachieving summer blockbuster has exploded into a series of bi-annual box office behemoths, the continuing adventures of Dominic Toretto have come to serve as an incredibly lucid chronicle of the transition from analog action to digital spectacle, and of how a hyper-localized star system gave way to our internationally focused age of branding. No other series in recent memory has taken so many sharp turns over the years, and no other series has been able to survive so many flat tires thanks to the sheer power of family.

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With “The Fate of the Furious” ready to roll into theaters, we’ve decided to place the film in its proper context by ranking each installment of the saga from worst to best. “The Fate of the Furious” (2017) Woof.

“The Fate of the Furious” is the “Die Another Day” of its franchise — an empty, generic shell of its former self that disrespects its own proud heritage at every turn. How did the great F.

Gary Gray, whose surprisingly strong remake of “The Italian Job” displayed a tremendous flair for comedic vehicular mayhem, waste the biggest budget of his career on such boring smash-ups? How does Charlize Theron (Furiosa!) sink this into a half-assed story of cyber-terrorism? How did Diesel and co.

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Manage to learn all of the wrong lessons from the last two movies, delivering an episode where everything feels so fake that even the “family” matters seem forced? It’s nice that gets to live on through these movies — his unseen character is still chilling on a beach somewhere — but the actor’s death has eliminated the last remaining failsafes that were preventing this franchise from forgetting what it’s all about, and “F8” sends the entire enterprise careening towards a full-blown identity crisis. “2 Fast 2 Furious” (2003) In truth, the saga’s first sequel is probably not as fun as the one that’s currently in theaters (though mileage may vary), but “2 Fast 2 Furious” gets the edge over “The Fate of the Furious” because — dumb as it is — it isn’t damaging to the series as a whole. In fact, John Singleton’s benign, goofy sequel (how goofy?

Cole Hauser is the main bad guy, and the movie ends with the destruction of a precious yacht) is responsible for adding a few franchise cornerstones, as it introduces Roman and Tej into the mythology and gives them both enough background to coast through their long futures as comedic relief. Still, this boring and benign chapter is rightly remembered more for its all-time stupid title than anything else, and it taught the world a very valuable lesson: A “Fast and Furious” movie without is isn’t really a “Fast and Furious” movie. It’s barely even a movie, at all. “Fast and Furious” (2009) If Michael Mann had directed a “Fast and Furious” movie, it would have been this one.

Regrettably, Michael Mann has not directed a “Fast and Furious” movie. The most forgettable and confusingly titled chapter of Vin Diesel’s magnum opus (or of anything else, for that matter), the series’ fourth film takes such a hardboiled, back-to-basics approach that it effectively functions like a soft reboot.

Refocusing the story on the tension between Brian and Dom, the grim and gritty “Fast and Furious” dutifully lays the groundwork for everything that’s come since, working much better as a prequel to “Fast Five” than it does as a sequel to the original (you can practically hear director Justin Lin switching the franchise’s gears, even if most of this installment is stuck in neutral). But credit where it’s due: “Fast and Furious” has the good sense to recognize that cars are more fun to watch when you care about where they’re going. Also, it lets Dom call Brian “buster” again, which is just the most adorable thing. “Fast & Furious 6” (2013) Justin Lin was never going to top “Fast Five,” and it’s kind of a shame that he even tried. Revving up the franchise into full blockbuster mode, “Fast & Furious 6” explodes a colorful action series into a full-blown soap opera, complete with narratively convenient bouts of amnesia, dramatic character deaths, and so much family intrigue that it stretches into the end credits.