In the previous film, there was a clear increase in the intensity of ridiculousness as the movie jumped, sprinted and punched its way to a amazingly silly finale that shun what little sense of reality its first half had established. The returning trio of director Louis Leterrier and screenwriting duo Luc Besson and Robert Mark Kamen (Corey Yuen is missing in action for this round) take the devil may care attitude of the original film’s second half and apply it right from the get go in Transporter 2.
It’s de rigeur to knock Hollywood for being out of ideas, but then along comes Father’s Day. It is Dark Horse’s four-issue miniseries combining two well-worn tropes: The hitman with a heart and the child as apprentice killer, as originated in the Lone Wolf and Cub manga series and repeated in so many action films (Luc Besson’s Leon/The Professional, Hanna, Kick Ass et al).
It’s possible that the filmmakers aren’t even responsible for this film’s many problems: the bizarre editing reeks of studio interference. But since McG’s name is still on the film as director, and Luc Besson’s as producer, it must be said that both men have seen better days and delivered more coherent films.
The famed French director Luc Besson hasn’t directed a film with a wide American release since the historic bomb The Messenger: The Story of Joan of Arc in 1999. In the interim he has written and/or produced a number of highly successful films including The Transporter, Taken, and District B13, and he’s directed a few French films that haven’t come across the pond, but The Family is his first attempt at directing an English-language film in almost fifteen years.
Quick question; does a flamboyantly camp and knowingly ridiculous science-fiction adventure costumed by Jean-Paul Gaultier and written by a teenager obsessed with 50’s and 60’s Belgian/French futuristic pulp comics sound like a good idea? The idea that any cynically minded executive would immediately stab his thumb in the air at the pitch of The Fifth Element is as fanciful as the bizarrely hypnotic and anachronistically beautiful world (or worlds) in which it is set.