Omar Sy returns to this now franchise as Ousmane Diakite, a cop who can stand up for himself even when outnumbered and caged. So much so that he beats up a huge MMA fighter in his own ring and ends the scene on a triumphant note, causing the crowd to shout: “Police! Police! Police!” Ousmane’s beating goes viral and inspires the Parisian police to use him and his black skin for their cheap social media campaign, which he scoffs at. notable in real life – but the film itself discards that angle and takes on the duty of police PR. Meanwhile, Ousmane’s former police partner François Monge (Laurent Lafitte) chats with and then sleeps with his therapist, establishing himself as the duo’s womanizer and a typical face of ordinary whiteness in the police.
All that gossip, that wink, almost kills The Takedown’s low-level fun when the plot finally picks up after a severed body is found on the train. Reunited in this case, Ousmane and François investigate with the help of a woman named Alice (Izia Higelin), who provokes their boyish inability to talk to a woman they find attractive.
Alice becomes a kind of guide to the crime city, a place so conservative that the mayor is not such a veiled fascist. As the film says, you may not like cops, but at least they are not hard-core skinheads who even work for a security firm that has a pseudo-SS symbol on its logo. Anyone who, the upper half of a guy named Kevin, leads to something like a super drug, one of the many unfinished stories in this messy script from Stefan Kazanjian. There is a larger conspiracy, albeit expressed with such spontaneous ideas that the emotional stakes are low, even when the immigrant home is bombed.
The film not only has visual problems due to police optics, but also large, explosive sets that Letterrier works overtime on to make them visually incomprehensible. It looks like a Sundance drama compared to the first film, Showdown is rife with overzealous, shaky camerawork or edgy shots that loosely show us in close-ups during a fight and then suddenly throw us into the sky, suggesting personal conflict between the editors. and the combat choreography team. This flurry becomes sinfully ugly when mixed with the camera’s penchant for wide-angle lenses that freely distort everything to the side of the frame, a terrible combination with a constantly moving camera. It’s another degree of ridiculous, dizzying, «slick» French action, a direct offspring of the 14 cuts it took for Liam Neeson. jump over the fence in «Taken 3» by Olivier Megaton.