★ 6 / 10
It took five years for this sequel to
Khaliel P
It took five years for this sequel to finally see the light of day, but the result isn’t quite what one might have hoped for. It’s still a decent comedy, with…
It took five years for this sequel to finally see the light of day, but the result isn’t quite what one might have hoped for. It’s still a decent comedy, with well-crafted gags, and Wilfried’s character is properly developed this time in the way the first film seemed to promise.
And yet, it’s hard not to find the film unbearably long—even though it only runs an hour and a half. The entire final section about the dance competition feels out of place. Putting Donald at the center of the story was another misstep: he’s both the weakest character and the weakest actor.
There are still a few jokes that hit the mark, but in the end, it’s almost the same as the first film. There’s no real freshness. You still have fun, and some lines have become cult favorites (“you can lose one card but not fifteen…”), but overall, a bit more inventiveness would have been welcome.
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★ 7 / 10
Nice suprise even though not lightweight
norbert-plan-618-715813
Morons are always good material for a film, comical at first sight. Here, they're set in a seemingly unlikely environment. The USA, with the midwest, then…
Morons are always good material for a film, comical at first sight. Here, they're set in a seemingly unlikely environment. The USA, with the midwest, then California. The film tackles some fashionable themes, such as gay marriage. But it also touches on the universal themes of the Tuche franchise: family feeling and solidarity, from parents to children, to elders (with the grandmother character here); there's also the open-mindedness of the family unit. The film also indulges in some pastiches, in this case on plastic surgery.
The Tuches have a lot of sympathy. They love Little House on the Prairie. They're open-minded. And the film contains a number of gems: Claire Nadeau's interventions, Pierre Lottin's dialogues, and of course Jean-Paul Rouve and Isabelle Nanty who are at their best, with the particular psychology of the father of the family. These Tuches are a delicious antidote to a certain self-righteousness.
There's also their dispute with the Californian family, which is dealt with in an interesting way, but which could have been more fully developed; it can't work for the son because it violates the Tuche family rules. Note that the film shows that money has qualities and can put anyone in power, and as if having money gave talent... We leave it to you to imagine to whom this might apply.
It has to be said that the writing work is significant and successful, whether on the main dramatic film, or within each scene. Five scriptwriters are credited, and a great deal of work went into devising the comic elements of each sequence.
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having troubles finidng english subs for this