Badman, the anti-hero of French lose

THE OPINION OF THE “WORLD” – TO SEE

Philippe Lacheau emerges in the register of tricolor regressive humor since “La Bande à Fifi”, on Canal+. The migration to the big screen – an almost obligatory passage in the career of a successful comedian – took place, for him, under happy auspices in 2014, with the enormous success of Baby sitting, volume 1, then 2, slightly trashy variations of the legendary Three men and a bassinet (Coline Serreau, 1985).

We find him today on the occasion of his fifth feature film, which, as its name suggests, is reduced to the French dimension, in other words provincial in this matter, the Hollywood genre that sells the most on the current cinematographic market.

Cédric (Lacheau), an actor in trouble who had until now found a role to his measure only in an advertisement for male underpants (Smallex le roi du petit kiki), landed the title role of Badman, first French superhero film. He benefits from the defection of the lucky chosen one, who, on hearing the news, is immediately decapitated by an iron bar following the untimely demonstration of joy which will have pushed him to stand up on the seat of a convertible. Here is an introduction that sets the tone! Action, humor, parody. Childhood spirit, in a word, distilled, for better or for worse, in a strained jet.

Comedic effectiveness

A welcome discovery allows the machine to start: while Cédric borrows the badmobile from the shoot, an accident leaves him totally amnesiac, so that a certain number of circumstances and clues make him believe that he is Badman and that he must find his wife and son kidnapped by an evil power.

There follows a series of adventures in which his two old friends, Seb and Adam, will enter, the first hovering at 8,000, the second having just moved in with the mother of the first, which is not without reason. cause some tension. But still his sister, Eléonore, a fairly stiff career soldier. And his father, a graduating police commissioner, who long ago gave up any hope of his loser son.

Winks to the superheroic universe (Batman, Spider-Man, Guardians of the Galaxy), burlesque stunts and silly laughter are on the program here. The scatological register is especially not avoided, when the hero’s father, for lack of available vehicle, urgently uses a test car from the police laboratory, intended to curb the ardor of the speeders thanks to the automatic activation of a kind of metal dildo under the driver’s buttocks. The effect of latency between the moment when the vehicle is presented and the later moment when it is used by a Jean-Hugues Anglade oblivious of its characteristics, with the concomitant sending on the soundtrack of Do not hold back your tears, by Amel Bent, are, let’s face it, if not of the finest, at least of the most painful comic efficiency.

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