I did a spontaneous decision to visit in cinema De l'autre côté du périph (On the Other Side of the Ring Road in literal English), which released as On the Other Side of the Tracks. I checked list of films in cinema or I saw a commercial on TV, but I accepted that it is a right choice. I didn’t make a misfire. I wouldn’t call it has so much as comedy – it has fine jokes and On the Other Side of the Tracks can consider as buddy cop movie, but it takes a very serious about difference of partners and good said about living in France, which economics didn’t change to better since release of film. I accidentally knew on existence of sequel in two and half weeks. I caught a picture of trailer in part of moving block, which gone from me. I turned back for see known characters and I laughed three times what is extreme much for modern standards. I wanted to see a sudden continuation of liked movie with a hope that I didn’t hear all jokes.
A sequel is variable in humor. It’s about France of today, tendencies of society, specialty of the French language and too many of toilet. However, jokes are not so often and moreover it’s about of the good ones for two hours containing out of wall serious talks, which makes to forget The Takedown is a comedy primarily. This film begins with repeating of structure of the first movie: Laurent Lafitte’s Francois Monge has sex, two main characters have meeting where senior in position doesn’t want this collaboration (it’s movie only changed personages in places what doesn’t give a difference as recall once again from the math that a sum of summands doesn’t change.), Omar Sy’s Ousmane Diakhite has a love interest in police (which also, as supposed we know, is a new passion.) who joins to investigation and a lead criminal in the first meeting shows white supremacy’s arrogance by doesn’t offer a handshake to negro protagonist. Nonetheless, The Takedown is an individual story with a little more budget, which used for graphically poor explosions, burning and fantastic flips of cars. Watching this movie finishes with a good feeling and I can view it if I will see again, but I wouldn’t put it in one with Louis de Funes’s comedies or Help!. The Takedown is tend to be a cinematic fastfood what means without highlight. It’s wonderful that the continuation isn’t a stand alone from the first part and has incorporated tie with it. Louis Leterrier, who got for staging became memorable Transporter 1-2 and then, as many directors, soured in Hollywood, is a skilled filmmaker who does nothing of more than execution of his duties. I didn’t like a mess approach with a camera in strip club fight where I hadn’t a clue at all in what’s going on. Miscasting was for giving a role to Izia Higelin who sometimes gives a look that is bored and she never could demonstrate that her character works in gendarmerie. The screenplay is prone to be guessable what usually don’t think in watching comedy when it doesn’t make a full execution for be a film of this genre.
Of course, who would like to be a courage man for show an alternative to that migrants don’t strive to find a job and live illegally while a paramount bad guy will attempt to explode their shelter with them?
