‘The Takedown’ Review: Omar Sy Stars in Formulaic Action-Comedy

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'The Takedown' Review: Omar Sy Stars in Formulaic Action-Comedy

It is straightforward to see why Netflix desired to reteam actor Omar Sy and director Louis Leterrier in something, anything, provided the recognition of their preceding collaboration, the French thriller collection “Lupin.” But U.S. viewers may perhaps be a tad puzzled by the streamer’s determination to inexperienced-light as their follow-up a popcorn motion picture as nondescript as “The Takedown” — a sequel to “On the Other Aspect of the Tracks” (“De l’autre côté du périph”), a light-weight 2012 French-produced buddy-cop motion-comedy that, whatever its attractiveness in its dwelling territory, been given only (pretty) restricted release by The Weinstein Corporation in this county.

On the other hand: Leterrier — whose credits also involve “Now You See Me” and the to start with two entries in the “Transporter” franchise — has just this week been supplied the keys to “Fast X,” changing the creatively distanced Justin Lin as director for the following installment of the “Fast & Furious” franchise. So possibly Netflix could possibly experience some unforeseen added benefits from a somewhat enhanced curiosity element. Probably.

“On the Other Side of the Tracks” — which can be tracked down, in case you are intrigued, on The Roku Channel — launched Sy’s Ousmane Diakhité, a wisecracking, rule-breaking Black cop in the Paris suburb of Bobigny who clearly sights Eddie Murphy’s Axel Foley as a position product (his cellphone ringtone is “Axel F,” the “Beverly Hills Cop” concept), and much more or fewer attaches himself to François Monge (Laurent Lafitte), a careerist white Paris Crime Device investigator, when the spouse of a highly effective businessman is uncovered brutally murdered in the vicinity of Ousmane’s housing job.

It would have to have a couple additional distinguishing capabilities for “On the Other Facet of the Tracks,” directed by David Charhon (“The Last Mercenary”), to qualify as generic. Still, the film does give some unexpectedly pointed observations about racial and socioeconomic divisions in France. A smirky interlude in a sexual intercourse club is undeniably humorous. And there’s powerful interplay amongst Sy as a street-sensible single father whose smile vanishes when confronted with condescending racism, and Lafitte as a self-contented narcissist from a effectively-to-do household whose Don Juanish tendencies might be far more of an impediment to marketing than his less-than-stellar police function.

Not being aware of any of this beforehand may perhaps diminish your pleasure of “The Takedown,” given that the sequel typically tends to make imprecise allusions to functions and plot developments in the before, and much better, motion picture. But the two lead people continue to be quite significantly the identical in this article, even however their respective position has modified. Monge continue to is a good cop, albeit not nearly as excellent as he thinks he is, and his serious skirt-chasing would be offensive if he weren’t so often the, ahem, butt of the jokes. (A co-employee taunts him as “too previous for that hipster beard and metrosexual trousers.”) But Ousmane now is main of the Criminal Division in Paris — and has additional authority than Monge as they crew for a murder investigation that provides them to a provincial city in the French Alps.

The final time they had been jointly — extra than a 10 years in the past, screenwriter Stéphane Kazandjian duly emphasizes — Ousmane experienced to information the whitebread Monge as a result of the imply streets of Bobigny. For this outing, Monge is the 1 who’s on acquainted floor, steering his partner (whether he needs to be steered or not) by means of a shut-knit community that, even though not brazenly racist, is a great deal short of welcoming when it comes to non-white outsiders.

Just one detail qualified prospects to yet another, ploddingly, as Ousmane and Monge switch above rocks and uncloset skeletons. The target whose grisly demise delivers them there in the to start with place turns out to have been a drug trafficker fond of planning methamphetamine in his mother’s barn. The nearby mayor is a appropriate-wing politico with national ambitions and a nationalistic credo. And a sizable section of the populace appears to gotten inspiration and style strategies from the crowd that stormed Washington, D.C. on Jan. 6 two several years back.

All of which will make “The Takedown” sound a ton more exciting than it is. To be good, although, Leterrier manages a handful of modestly interesting chase scenes, which includes one particular that begins in a laser tag system, carries on via a bowling alley and a go-kart track, and finishes in a crowded supermarket. And his two qualified prospects are agreeably amusing and for the most part partaking all through the film. You should not be stunned if their figures are played by Kevin Hart and Jason Sudeikis in an Americanized remake. On the other hand, you should be pretty stunned if any person at any time goes to the difficulty of making such a remake.

“The Takedown” is obtainable now on Netflix.