Coming out from jail, Lucas has decided to change his life and behave like a good citizen. But when he is taken hostage in a bank by a hare-brained robber, no cops can believe he is not ... See full summary »
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Coming out from jail, Lucas has decided to change his life and behave like a good citizen. But when he is taken hostage in a bank by a hare-brained robber, no cops can believe he is not part of this action. Written by
Jean-Marie Berthiaume <firstname.lastname@example.org>
I'm in complete awe of Francis Veber as both a writer and a director. How he can continue to ring even more changes out of what is essentially a Johnny-one-note idea both amaze and delight. Here he is at it again and, for good measure, adds a soupcon of sensitivity into the mix. Maybe, as a previous commenter has stated, we should just bask in the invention, charm and acting skills on display and not attempt analysis. Depardieu is now, of course, arguably the best-known and best-loved contemporary French actor in the world by virtue, and rightly so, of his unsurpassed range rather than the occasional English-speaking role but Gene Wilder lookalike Pierre Richard is virtually unknown outside France - at least in England - which is sad. Now aged 70 he continues to work - not, alas, with Veber - and as I write is appearing on the Paris stage in a piece which translates to 'Fish Out Of Water', as good a description as any for the inept bank-robber he plays here, basically a nerd desperate to bankroll a cure for his young daughter, rendered mute since witnessing the death of her mother. As luck - or meet-cute scripting - would have it, ex-con Depardieu (he literally left the slammer minutes earlier) is in the bank when Richard holds it up and of all the hostages he COULD pick to help him getaway he picks Depardieu, natch. From then on it's business as usual, two opposites who attract the flics. Replete with both sight gags and verbal wit this is one to cherish. 9/10
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