Luc Besson takes the same people, technical teams, screenwriter, cast, and it starts again. Here, the franchise continues with the same story, the same actors and the same dramatic arcs. Here the villains are Belgian. The same gimmicks articulate the story. The qualities or characteristics are still there. The images of Marseille, the speed and the cars, the heavy gags, the direction of the actors, and the shocking images, in particular of the Belgian killer in his costume, for a mixture that progresses quickly and always holds in the ninety minutes, without dead time, to go straight to the point.
It emerges, as in each episode of the franchise, a form of freedom, a form of unabashed audacity that mixes vulgarity, misogyny, xenophobia, humor without complex, for a breviary on the clichés that it is possible to find in a fiction. Apart from this assumed perspective of not wishing to please an elite, which works perfectly, the film may lack subversion, but remains effective in its genre.
It emerges, as in each episode of the franchise, a form of freedom, a form of unabashed audacity that mixes vulgarity, misogyny, xenophobia, humor without complex, for a breviary on the clichés that it is possible to find in a fiction. Apart from this assumed perspective of not wishing to please an elite, which works perfectly, the film may lack subversion, but remains effective in its genre.