My Sincere Writeup On The Rush Hour Flick

It’s difficult to consider a sadder commentary about Hollywood’s sequel fetish than the existence of Rush Hour 3. Boring, uninspired, and repetitive, this third pointless movie in an action/comedy franchise that defines mediocrity doesn’t even try to disguise the truth that its existence is a money-grab. I wasn’t a fan of either previous Rush Hour film, but neither felt as tired and obligatory as this one. Aside from some amusing scenes with Chris Tucker and a nice dj vu dance routine to “War” performed by Tucker and Jackie Chan, this movie offers nothing that had not been done better in the other outings featuring these mismatched buddy cops.

Ok, The weak plot has Chief Inspector Lee (Jackie Chan) protecting a Chinese diplomat during his visit to LA. He has top-secret details about the Triad crime syndicate but, before he can divulge it, he’s shot. Lee, reunited with his former partner, Detective James Carter (Chris Tucker), vows towards the consul’s daughter, Soo Yung (Zhang Jingchu), he will find the man who attacked her father. To get this done, Lee and Carter must pursue Triad assassin Kenji (Hiroyuki Sanada) to Paris, where they are aided by an anti-American cab driver named George (Yvan Attal), who discovers that he has a taste for car chases and gunplay.

Just like Rush Hour and Rush Hour 2, this film combines hit-and-miss comedy with lackluster action. The film doesn’t have a pulse, and also the “excitement” comes across as pallid in comparison with The Bourne Ultimatum (although at least the movie camera is not afflicted with the shakes). This movie is probably no more amusing than its predecessors, although it’s difficult to be sure. Nothing in any of the Rush Hour products may be roll-on-the-floor funny, and this one is no different. Especially lame is really a riff on “Who’s on First” that proves the stars of the movie do not have anything on Abbot and Costello. Additionally, there is a parody of emotional moments in buddy movies featuring Elton John’s “Sorry Seems to be the Hardest Word.” Maybe that’s said to be an apology towards the audience by Brett Ratner. Also think about a scene featuring lots of raw sewage that may on some level be a comment about where the franchise is headed.

Just one Of the numerous areas when the movie disappoints (although, with that said, it’s not unexpected), it’s in the lack of physicality displayed by Jackie Chan. At 53, he can no longer perform the kinds of stunts that made him an international star. Putting life and limb at risk in the line of duty are things for younger men. Most of Chan’s most daring work may be passed on to stunt-men there are hints of CGI (although not enough where it is distracting). The end-credit outtakes, which are typically a horror show of Chan’s muffed stunts, are limited here to verbal bloopers, messed-up lines, and the occasional minor pratfall. Chan’s gift for comedy appears as muted as his martial arts derring-do. At no time during Rush Hour 3 is he particularly funny. My assumption has been that as Chan aged, he’d gravitate more toward comedy, but this is not an excellent start.

I am sure Chris Tucker accumulates a pleasant paycheck but none of the slack. However, while it’s a stretch to call him up “likable,” at least he’s not as irritating as he is in Rush Hour and Rush Hour 2. Both Chan and Tucker are outmaneuvered within the comedy department by Yvan Attal, whose character’s love/hate relationship with American culture results in some of the movie’s wittiest (and I use that word loosely) scenes. Max von Sydow, in “concealed bad guy” mode, is on hand to do what he is doing best with his glorious bass voice. (Now that Bergman is officially in his grave, he is able to turn over.) And Roman Polanksi is included in a cameo as a French policeman who anally rapes Lee and Carter. (Yes, you read that correctly. A PG-13 movie features anal rape – although, obviously, it’s only implied and is employed to obtain a laugh.) Why Polanski would agree to play this part is anyone’s guess; it’s not the type of thing that will help his less-than-sterling reputation. I kept waiting for Jean Reno to show up, since he always seems available during these English-speaking films set in France.

Does Rush Hour 3 deliver what audiences expect from it? Only its most devoted fans will say “yes.” The formula is within place however the performers are just doing the motions. It is a stale version compared to the prior films, plus they were not all that great to begin with. One could reason that director Brett Ratner at least invested Rush Hour with some energy. Even throughout the climactic battle at the Eiffel Tower, there is nothing resembling that here. This is yet another disposable summer movie – so lackluster that it’s not even worth searching out when it plays on television. The Rush Hour experience, which never attained anything resembling full speed, originates to a crashing halt.

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