The Takedown, 2022.
Directed by Louis Leterrier.
Starring Omar Sy, Laurent Lafitte, Izïa Higelin, Dimitri Storoge, and Jean-Louis Tilburg.
SYNOPSIS:
Ousmane Diakité and François Monge are two cops with very different styles, backgrounds and careers. The unlikely pair are reunited once again for a new investigation that takes them across France. What seemed to be a simple drug deal turns out to be a much bigger criminal case wrapped in danger and unexpected comedy.
Although The Takedown is a follow-up to 2012’s On the Other Side of the Tracks, I can only assume Netflix felt comfortable distributing this sequel (the first film is not available on the streaming service at the time of this writing) because it’s completely coherent and watchable without any prior knowledge. It also helps that the buddy-cop dynamic here is filled with so many clichés that it also doesn’t feel like one is missing out on any crucial past characterization (if there was any). Of course, that’s the only upside to something this routine and generic.
Suppose there is any reason to check out The Takedown. In that case, it’s to keep up with breaking developments that its director Louis Leterrier (using a script from Stéphane Kazandjian, who also has no connection to the first entry) has been tapped as a replacement filmmaker for Fast X following the departure of longtime series collaborator Justin Lin (let’s be honest, though: it’s mostly a gig to get the movie in the can while avoiding conflict with the egotistical Vin Diesel who has single-handedly driven away nearly all the reasons that series was rejuvenated into creatively insane tentpoles that were once worth looking forward to). There are also a handful of vehicle chases in The Takedown, but barring a silly set piece involving go-karts (by far the high point of the movie in terms of entertainment), there’s not much to suggest he is an inspired choice. Even his directorial portfolio offers nothing that stands out.
The Takedown sees Paris police officers Ousmane Diakité and François Monge (with Omar Sy and Laurent Lafitte reprising their roles) again forced to unite and set aside their political and racial differences to solve a homicide. Ousmane is the more focused and professional duo, whereas Francois has a habit of making inappropriate jokes and chasing after women while getting the job done. The fact that the mystery at hand here involves white nationalism allows the script more room for racial dialogues. However, it doesn’t say anything interesting or compelling, reduced to a series of broad humor jokes.
It’s also frustrating that The Takedown happens to be another victim of 2+ Netflix film syndrome, especially when much of the first half is relatively dull while setting up predictable plot points adhering to all the classic tropes without a refreshing spin. Omar Sy certainly has an admirable cold stare and a likable intimidating presence when standing up for himself in various racist situations, but the action and story are never once worth caring about. There is also a host of returning and new characters, ranging from family members to love interests both past and present, but no one feels like a human worth taking seriously. This would be forgivable if the comedy consistently lands, but that too leaves no impression.
The proceedings become more enjoyable once it’s willing to embrace the joys of watching our heroes fight back against a group of neo-Nazis, but there’s also nothing genuinely outrageous or insightful. Either way, The Takedown falls short as satire and an action-comedy.
Flickering Myth Rating – Film: ★ ★ / Movie: ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
