For the second franchise, the director changes, but not the screenwriter (still Luc Besson). The change in direction does not affect the film. Perhaps the direction of the actor, which seems less heavy, less schematic.
The screenwriter takes up the framework of the first: here the Marseille police face Yakuzas, and adds more information on the secondary characters (the father of Mario Cotillard for example, a career soldier). The whole remains an action comedy, with beautiful images of Marseille in the background. The canvas is therefore the same, with the resourceful Samy Nacéri, and the stupid Frédéric Diefenthal.
This franchise is an anthology of caricatures: Japanese (necessarily Yakuza), military (necessarily military...), women (necessarily sexual issues or in the kitchen or good at making children), except the German, rather not too disadvantaged even if it is a sexual issue for the moron on duty, the Marseillais necessarily lazy and resourceful. Etc.
The stunts remain spectacular and the "old-fashioned" side, that is to say without the complete digital arsenal (98% computer-generated image) gives the crumpled sheet metal a texture of which the digital is incapable (even with a rendered ultra realistic, it sounds necessary).
This franchise is perfect as a catalog of the chromos of the time (music, societal).
The main interest of the film remains Bernard Farcy, whose delusions and misogynistic, phallocratic or racist antics give the character a human side, surprisingly. He does so much that he becomes sympathetic.
The screenwriter takes up the framework of the first: here the Marseille police face Yakuzas, and adds more information on the secondary characters (the father of Mario Cotillard for example, a career soldier). The whole remains an action comedy, with beautiful images of Marseille in the background. The canvas is therefore the same, with the resourceful Samy Nacéri, and the stupid Frédéric Diefenthal.
This franchise is an anthology of caricatures: Japanese (necessarily Yakuza), military (necessarily military...), women (necessarily sexual issues or in the kitchen or good at making children), except the German, rather not too disadvantaged even if it is a sexual issue for the moron on duty, the Marseillais necessarily lazy and resourceful. Etc.
The stunts remain spectacular and the "old-fashioned" side, that is to say without the complete digital arsenal (98% computer-generated image) gives the crumpled sheet metal a texture of which the digital is incapable (even with a rendered ultra realistic, it sounds necessary).
This franchise is perfect as a catalog of the chromos of the time (music, societal).
The main interest of the film remains Bernard Farcy, whose delusions and misogynistic, phallocratic or racist antics give the character a human side, surprisingly. He does so much that he becomes sympathetic.