The Takedown reunites Omar Sy and Laurent Lafitte as a mismatched cop partnership on a quest to take down some far-right fools. While The Takedown is a sequel to the previous film directed by Louis Leterrier and written by Stéphane Kazandjian, it does not require prior knowledge of the first film.
The writing effectively introduces (or reintroduces) the main characters to the audience, preparing them for a new adventure. This time, Ousmane Diakité (Sy) and François Monge (Lafitte) are investigating a heinous crime involving a severed body. Their research leads them to a small hamlet governed by a racist mayor, and the story continues from there.
The French Lethal Weapon (also known as Bon Cop, Bad Cop in France) capitalises on the remarkable chemistry between the two characters. The Takedown, on the other hand, benefits from Omar Sy's natural magnetism. The French actor is no stranger to hollywood fare, but he is at his finest when speaking in his home tongue, as his performance takes on a preciousness and brilliance. Sy illustrates that movie stars exist outside of hollywood as he brilliantly plays every aspect of his character's identity in the film. Lafitte, on the other hand, is an excellent counterpart for Sy, portraying an unpleasant character on paper who is rendered delightful by the actor's performance.
The Takedown serves two purposes. In some ways, it does what it sets out to do. While Kazandjian's script includes some social critique, Leterrier, who is best known for his Transporter films, does his hardest to direct a thrilling action thriller. It's a little disjointed at times, but it's entertaining. The jokes aren't as crisp as they should be, and some are out of date, but Sy and Lafitte are talented actors and comedians who can make someone laugh just by looking at them. Leterrier's enthusiastic directing and the principal actors' ability make for a very entertaining two hours.
The Takedown gives spectators a taste of the type of action movies that have been missing in recent years, ones with fun and exciting protagonists portrayed by excellent actors and that are not overly desaturated. It doesn't reinvent the wheel, but it does engage viewers on both a visual and cognitive level. The script's sombre issues and the joyful atmosphere of this Bad Boys-style action flick are in a delicate balance, yet it somehow manages to land.
The writing effectively introduces (or reintroduces) the main characters to the audience, preparing them for a new adventure. This time, Ousmane Diakité (Sy) and François Monge (Lafitte) are investigating a heinous crime involving a severed body. Their research leads them to a small hamlet governed by a racist mayor, and the story continues from there.
The French Lethal Weapon (also known as Bon Cop, Bad Cop in France) capitalises on the remarkable chemistry between the two characters. The Takedown, on the other hand, benefits from Omar Sy's natural magnetism. The French actor is no stranger to hollywood fare, but he is at his finest when speaking in his home tongue, as his performance takes on a preciousness and brilliance. Sy illustrates that movie stars exist outside of hollywood as he brilliantly plays every aspect of his character's identity in the film. Lafitte, on the other hand, is an excellent counterpart for Sy, portraying an unpleasant character on paper who is rendered delightful by the actor's performance.
The Takedown serves two purposes. In some ways, it does what it sets out to do. While Kazandjian's script includes some social critique, Leterrier, who is best known for his Transporter films, does his hardest to direct a thrilling action thriller. It's a little disjointed at times, but it's entertaining. The jokes aren't as crisp as they should be, and some are out of date, but Sy and Lafitte are talented actors and comedians who can make someone laugh just by looking at them. Leterrier's enthusiastic directing and the principal actors' ability make for a very entertaining two hours.
The Takedown gives spectators a taste of the type of action movies that have been missing in recent years, ones with fun and exciting protagonists portrayed by excellent actors and that are not overly desaturated. It doesn't reinvent the wheel, but it does engage viewers on both a visual and cognitive level. The script's sombre issues and the joyful atmosphere of this Bad Boys-style action flick are in a delicate balance, yet it somehow manages to land.
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