The Takedown Story:-
Ousmane Diakité and François Monge, despite their French background, are characters that will resonate instantly with American audiences. They embody the classic trope of mismatched detectives thrust together by circumstance, constantly bickering until they reluctantly find common ground. Their dynamic is one of perfect complementarity.
Movie Ratings
| Release Date | 6 May 2022 |
| Language | English |
| Genre | Action, Comedy |
| Duration | 2h 1min |
| Cast | Omar Sy, Laurent Lafitte, Izïa Higelin, Dimitri Storoge, Léopold Bara, Luka Quinn, Jean Louis Tilburg, Caroline Mathieu |
| Director | Louis Leterrier |
| Writer | Stéphane Kazandjian |
| Cinematography | Thomas Hardmeier |
| Music | Guillaume Roussel |
| Producer | Eric Altmayer, Nicolas Altmayer |
| Production | Mandarin Films |
| Certificate | 16+ |
“The Takedown” takes a distinctly French spin on the buddy-cop genre, drawing inspiration from the iconic films of the 1980s and ’90s. However, much of its humor feels dated, relying on tired gay-panic jokes that belong to a bygone era. The scenario of our two protagonists being forced to share a bed due to a hotel room shortage is played for laughs, but it feels more cringe-worthy than comedic.
A sequel to the moderately successful “On the Other Side of the Tracks” from 2012, “The Takedown” follows the adventures of the sharp-witted and hot-headed Ousmane, played by Omar Sy of “Lupin” fame, and his counterpart, the foolish and arrogant François, portrayed by Laurent Lafitte of “Elle.” Together, they investigate a small mountain town infested with white-supremacist thugs fueled by potent methamphetamine. The local authorities, aligned with a far-right political party reminiscent of Marine Le Pen’s, turn a blind eye to the criminal activities. However, they find an ally in a local policewoman played by Izïa Higelin, who is eager to assist them in their unconventional approach to law enforcement.
The film likely seemed like a guaranteed success, given the star power of Omar Sy, whose charisma helped propel “Lupin” to global acclaim, and the directorial talent of Louis Leterrier, known for his work on the “Transporter” franchise and acclaimed “Lupin” episodes. However, even their combined efforts cannot salvage the film from its shortcomings. Despite the spectacle of our two protagonists taking down racist criminals, the movie is weighed down by overly frantic action sequences, stale humor, and clichéd plot points.
In essence, while “The Takedown” attempts to capture the essence of classic buddy-cop movies with a French twist, it ultimately falls short of its mark, failing to deliver the freshness and excitement expected from a contemporary action-comedy.
