Given the success of their previous project together, the French suspense television series “Lupin,” it is not hard to see why Netflix would have wanted to reunite the actor Omar Sy and the director Louis Leterrier in anything, anything.
But viewers in the United States may be a little perplexed by the decision of the streamer to green-light as their follow-up a popcorn movie as unremarkable as “The Takedown.” “The Takedown” is a sequel to “On the Other Side of the Tracks” (“De l’autre côté du périph”), a lightweight 2012 French-produced buddy-cop action-comedy that, despite its popularity in its home territory, was only given a very
Leterrier, whose other credits include “Now You See Me” and the first two entries in the “Transporter” franchise, was just this week given the keys to “Fast X,” replacing the creatively distant Justin Lin as director for the next instalment of the “Fast & Furious” franchise. “Now You See Me” and the first two entries in the “Transporter” franchise are among Leterrier’s other notable credits. Therefore, it’s possible that Netflix may see some unexpected gains from a little increased curiosity factor. Maybe.
“On the Other Side of the Tracks,” which can be found, in case you’re interested, on The Roku Channel, introduced Sy’s Ousmane Diakhité, a wisecracking, rule-breaking Black cop in the Paris suburb of Bobigny. He obviously looks up to Eddie Murphy’s Axel Foley as a role model (his cellphone ringtone is “Axel F,” the theme from “Beverly Hills Cop”), and he more or less attache
To be considered a generic film, “On the Other Side of the Tracks,” directed by David Charhon (“The Last Mercenary”), would need a few more unique characteristics than it now possesses. Nevertheless, the movie makes several observations that are quite accurate regarding the racial and social divides that exist in France.
A smirking exchange that takes place at a sex club is absolutely hilarious. And there is effective interplay between Sy as a street-smart single father whose smile vanishes when confronted with condescending racism, and Lafitte as a self-satisfied narcissist from a well-to-do family whose Don Juanish tendencies may be more of an impediment to promotion than his less-than-stellar police work. Sy is portrayed as a street-smart single father who smiles less when
Since the sequel frequently makes oblique allusions to events and story developments in the previous, and superior, movie, it is possible that your enjoyment of “The Takedown” will suffer if you are unaware of any of this information beforehand.
However, the two major protagonists have not altered all that much here, despite the fact that both of their situations have evolved. Monge is a fine officer, even if he is not nearly as good as he thinks he is, and his continuous skirt-chasing would be irritating if he weren’t so often the “butt” of the jokes.
However, he is not nearly as good as he thinks he is. (One of his coworkers makes fun of him by saying that he is too old for that hipster beard and metrosexual jeans.) However, Ousmane is now the chief of the Criminal Division in Paris, which means he has more authority than Monge as the two of them work together to investigate a murder case that takes them to a small village in the French Alps.
The last time they were together, which was almost a decade ago, as screenwriter Stéphane Kazandjian makes sure to underline, Ousmane had to help the naive Monge navigate the dangerous streets of Bobigny. For the purpose of this excursion, Monge is the one who is familiar with the terrain, and he is the one who is guiding his partner (whether the latter wants to be guided or not) through a tight-knit community that, while not overtly racist, does not extend a particularly warm welcome to non-white visitors.
As Ousmane and Monge move over rocks and uncover bones, one item gradually leads to another. This process is laborious and tedious. The victim, whose gruesome death leads them there in the first place, turns out to have been a drug trafficker who enjoyed cooking methamphetamine in his mother’s barn. This was his favourite spot to do it.
The mayor of the city is a political operative on the right who has both national aspirations and a nationalistic ideology. And it would appear that a sizeable portion of the population has drawn motivation and picked up some style pointers from the multitude that descended onto Washington, D.C. on January 6th, two years ago.
Because of all of these factors, “The Takedown” seems far more fascinating than it actually is. To be fair, though, Leterrier does manage to include a few moderately interesting chase sequences, such as the one that begins in a laser tag arena, goes through a bowling alley and a go-kart track, and finally concludes in a packed supermarket. And for the entirety of the movie, his two protagonists are entertainingly funny and, for the most part, compelling. You shouldn’t be astonished in the least if an Americanized version of the movie casts Kevin Hart and Jason Sudeikis as their roles to play in it. On the other hand, you have every right to be quite shocked if anybody ever goes to the bother of making a remake of such a movie.
You Can Watch this Movie on Netflix which was released on May 6, 2022.
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