Luc Besson

‘Transporter 2’, while still fun, takes the crazy level a notch too high

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.

Little to celebrate in Dark Horse’s ‘Father’s Day’

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).

‘Lucy’ offers fake science, but real entertainment

Let there be no doubt: the concept which powers Luc Besson’s new film Lucy, that human beings use only 10% of their brain capacity on average, is pseudoscience garbage. However, that fact ought not disqualify the film immediately. In truth, a little pseudoscience can go a long way at the movies.

‘Lucy’ is the guiltiest of pleasures

Sometimes, despite reason and common sense, there is no escaping the kinetic charm of a truly ridiculous creation. If it’s true that we only use 10% of our brains, you’ll need to disengage 9% of it to enjoy Lucy. But what truly wondrous sights that 1% will enjoy!

‘3 Days to Kill’ is a hot mess of a movie

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 Family’ has its moments, but is never superlative

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.

‘The Fifth Element’: Masterpiece or Mess?

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.

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