![]() ![]() New Line Cinema presents anArthur Sarkissian and Roger Birnbaum productionīased on characters created by: Ross LaManna With the masterful Lalo Schifrin handling the scoring, “Rush Hour 3” at least sounds like it’s moving in a propulsive direction, even as it sputters to the finish line. Michael Muro (“Open Range,” “Crash”) and the sets by production designer Edward Verreaux (“Monster House,” “Contact”) With the exception of that Eiffel Tower finale that delivers a couple of sky-high thrills, if a little late in the game, the obligatory action sequences also tend to simply go through the motions, offering little in the way of freshness or ingenuity.Īdmittedly, it all looks pretty terrific, thanks to the vibrant camerawork of cinematographer J. While their search for the elusive Shy Shen leads them from the sewers of Paris to the top of the Eiffel Tower, the picture, even with three editors at its disposal, seldom gets off the ground.Įven bits that would seem to be can’t-miss propositions, like when Tucker poses as a fey French designer named Bubbles in order to “review the troops” backstage at the Folies-Bergeres (played by a theater in Santa Ana), fall awfully flat.Īs Ratner, his two leads and returning screenwriter Jeff Nathanson all appear to be approaching the task at hand with all the inspiration of a contractual obligation, the assembled cosmopolitan cast - including old pro Max von Sydow as the French foreign minister, the alluring Noemie Lenoir as the resident femme fatale and director Roman Polanski as an obnoxious police inspector - do what they can to add a bit of much-needed vitality. Here we have Tucker’s LAPD Detective Carter and Chan’s Inspector Lee reuniting in Los Angeles before relocating to Paris to stop an international crime syndicate known as the Triads in their notorious tracks. This time, however, the routine goes awfully stale, with the actors doing the shtick-handling without the chemistry that compensated for all the by-the-numbers formula. What it had going for it was that engaging yin/yang of the Chan/Tucker personalities that made for an amusing clash of cultures. ![]() As buddy cop action-comedies go, “Rush Hour” from the outset always felt like the poorer relation next to a “Beverly Hills Cop” or a “Lethal Weapon.”
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