The Takedown
The Takedown , the sequel toOn The Other Side Of The Tracksreunites Omar Sy and Laurent Lafitte as the mismatched pig duo who are on a mission to take down some far - correct fools . While this latest outing from manager Louis Leterrier and screenwriter Stéphane Kazandjian is a subsequence , there is no need to be present with its predecessor becauseThe Takedownstands on its own .
The piece of writing succinctly introduces ( or reintroduces ) the leading yoke to audiences , set up them up for a new dangerous undertaking . This time Ousmane Diakité ( Sy ) and François Monge ( Lafitte ) are working on a slip of a bloody crime involving a body that was cut in half . Their investigating lead them to a rural town campaign by an highly racist and bigoted city manager and the film goes from there .
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The FrenchLethal Weapon(or France’sBon Cop , Bad Cop ) dally on the great chemistry between the lead . However , Omar Sy ’s innate charismagivesThe Takedownthe cost increase it necessitate . The Gallic thespian is no alien to Hollywood transportation , but he is at his sheer good when speaking in his native tongue , as there is a pricelessness and brilliance to his performance . As he expertly plays every aspect of his character ’s persona in the film , Sy shew that movie whizz exist beyond the confines of Hollywood . On the other hand , Lafitte is an idealistic transparency to Sy , playing an insufferable character on paper who is made somewhat charming through the actor ’s portrait .
Lafitte ’s Monge has an interesting presence as his case intentionally contrasts the film ’s villain . Monge is a bloodless man who believe himself infallible and above reproach , but is not so egotistical as to neglect his humanity . He is still wildly ignorant , especially regarding how he treats his Black partner , who is in the inapt attitude of being tokenized by the French police . He should be somewhat mindful of his privileges and what he represents , but the motion picture is afraid to fully put to the idea that maybe he can learn to be serious . By demarcation , the pic ’s Nazis are quite awful . They make Monge look tolerable , though his character is still a peck to take .
While Leterrier is determined to make a brilliant andkinetic action filmthat threatens to go into sensory overburden , the script by Kazandjian has other ambitions . In recent years , many have been confronted by the lack of law enforcement supervising , the rearing racial discrimination within these institutions and the stiff connections between them and far - right nationalist groups . France is not barren from this type of darkness . Even more damnatory are recent political elections and policy that reflect a regressive attitude overcoming the body politic . YetThe Takedownis a Dardanian cavalry , pretending to merely be another asinine , albeit entertaining , action moving-picture show that moderate a much mysterious and resonate story . Although the playscript is far too simplistic for the themes and subject matter , there is small else one should have a bun in the oven from what is ultimately a Zea mays everta activity movie . There is an attempt made , which is enough .
The Takedownhas a dual purpose . In a way , it succeeds in what it seek to do . While we have Kazandjian ’s script work in some societal commentary , Leterrier , famous forhisTransporterfilms , does his good to direct a dizzyingly exciting activeness motion-picture show . It ’s incoherent in part , but enjoyable . The jokes are n’t as tart as they ought to be and some are outdated , but Sy and Lafitte are practiced actors and comedians who can get a laugh out of someone with just a tone . The gift of the pencil lead , paired with Leterrier ’s enthusiastic directing , makes for a very entertain two hours .
The Takedowngives audiences a taste sensation of the character of action films that have been miss , one that has playfulness and exciting leads played by especial actors and is not desaturated to an extreme . It does not reinvent the wheel , but it engages viewers on a ocular and cerebral level . There is a precarious Libra the Scales between the big base of the script and the pollyannaish nature of thisBad Boys - esque military action flick , but somehow it sticks the landing place .
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Laurent Lafitte and Omar Sy in The Takedown
The Takedownbegan cyclosis on Netflix Friday , May 6 . The movie is 120 minutes long and rated TV - MA .
