True, this was a film that bears no resemblance with such movies as "Ridicule", "Intimate Strangers", and others, more accomplished than this silly comedy. Granted, it was made by a younger man who showed his genius in staging this sequel of "French Fried Vacation", which we have not seen, also directed by M. As comedies go, this strictly for local consumption. It is surprising Hollywood did not steal the plot for a remake, although we cannot be one hundred percent sure it was not the case.
Suffice it to say, M. Leconte gives the picture some fun in the snow. The surprise in this film was the presence of the young and energetic Thierry Lharmitte, who went to make a name for himself in the French cinema.
We were somewhat disappointed by Josiane Balasco, an actress who has always delivered, but here has nothing to do. Basically, it is the same cast as in the original film. Michel Blanc, and especially the wonderful Christian Clavier fare better than their comrades in the snow. As far as sequels go - which, on average is not very far at all - this isn't bad.
The fantastic success of Les Bronzes was reason enough to get Splendid together to write and perform in a sequel and turn Patrice Leconte loose to 'direct' them. Like the first one it's essentially a series of sketches rather than a conventional Beginning, Middle, End kind of plot but let's face it, the people performing the sketches are some of the best in the business and as other posters have remarked virtually all of them went on to enjoy long careers - Michel Blanc for example is starring in a great new film Je Vais trouve tres beau even as I write and Josie Balasko wrote and starred in a play that finished its run earlier this year - not least Leconte who now has a string of successes to his name.
Like its predecessor it's punchlines have entered the language which speaks for itself. It is, however, tarnished with a dirty word "Entertainment" pseuds beware. I think you and I have the same problem: the point is that we cannot really rely on our looks, especially you. So let me give you a piece of advice: forget you don't stand a chance, and just go for it!
Who knows, it might work out of a misunderstanding! And the 'misunderstanding' part immediately penetrated French culture as the inspirationally desperate encouragement for perseverance. In one of the opening scenes, when Bernard and Nathalie make their entrance in their chalet's room, they protest against the occupants who put a banal painting in the wall "that belongs to everybody".
Later, we see Nathalie hanging a ridiculous clown portrait that makes the whole rant hilariously absurd, postponing its comedic effect. Each scene is either funny or works as the set-up of an even funnier moment, and each character has a moment to shine, provided we knew them from the first opus. Although I believe it's a far better film than the first, the viewing of the latter is essential, if not indispensable.
And even the very supporting characters create memorable moments. During a dinner, Christiane, Domique Lavanant as the insecure old maid, brings her new friend for dinner.
The age of the man who could be her father is a gag in itself but the way Maurice Chevrit steals the show during that dinner is indescribable. He makes a speech about celebrities who wore toupees with a level of believability and seriousness that I can see appealing to English or sophisticated audiences. The summit of Pythonesque absurdity is reached when he raises his glasses complimenting the wine's taste, totally forgetting that it was the wine he brought himself and what's more, didn't want to share with the others.
And God, this is only the starters; the film works on every level of comedy, from slapstick to subtle humor, which makes it among the greatest comedies ever.
And despite the episodic feeling, the little subplots doesn't feel as disjointed as in the second, a tribute to Patrice Leconte who applies his touch on the film and doesn't take for granted the popularity of the characters and the cleverness of the script. The film is still loyal to the spirit of the first one, carried by the central performance of Michel Blanc as Jean-Claude Dus, with his immortal catchphrase "I can't feel that tonight, I'll conclude" which means that he'll "make it with the girl".
His desperate attempts to conclude are the running gag of the series that never gets old and inspires some of the funniest moments of the film. The one where he's stuck in the chair lift, in the middle of a night and another more subtle one, when he struggles to seduce a pretty Italian with Popeye.
Both lamentably fail and when an enraged Dus asks Popeye "I don't know what prevents me from knocking you" Popeye's answer is funny: "I don't know. Wrongly convicted of extortion and attempted murder, Mick is sent to Pleasant Hill Penitentiary's notorious death block Seething with revenge after discovering the truth behind his brother's death, Mick's rage ignites an explosive riot as he makes a daring escape from death block Parental Guide. Of you that likes to watch a movie at higher speeds than usual, use 1.
Bronzi becomes the legendary charles bronson , yet again!!!! He is still the spittin' image of the cultstar of the 70's, and he must be charles bronsons twin brother born 30 years later as a result of their mums teratoma birth, and its a shame tto say, mr bronzi has become even better on the acts. We all know the 70's spaghetti westerns, with its telephonic sounds and whipsnapping sound effects, well this is the 's tortellini thriller, with fist fights and gunfights and gore and splatter that just a b- movie can bring forward, its a very well done charade, a multitude of prison break movies turned into one completely new one, where the reaper man never reaches the main cast, and where retakes is an unknown procedure, and the hallelujahs of glorious hudlums covers the mould eaten prison walls and the special effects is made outta the first version of photoshop.
So a low level production it is, it has all the glitches of soundboom shadows and production crew reflecting in the pilot sunglasses, but its just a fictional rump made outta neanderthalic capabilities amd a storyline written with the commandments of prisonlife as the inspirational source. Its a funfare for all of us loving bud spencer and terrence hills brawlouts and barfights in the , no more intellect is required.
Well its not a feinsmaeckers movie, let that be said from a grumpy old man, that has mr bronzi rolling up as the new vigilante favourite on the silver screen.
Its fodder for the black out party, ill give it an 8 for the clichees and action comedy and choice of cast, especially the prison caracters. Bronzi's back! That's right - the sixtysomething Hungarian action star born Robert Kovacs who was performing in a European Wild West stage show when director Rene Perez saw his photo on the wall of a bar and thought it was an undiscovered Bronson movie.
After the death of his brother, Mick Kovacs Bronzi heads to America to get justice and get sent directly to the Pleasant Hill Penitentiary where he learns that his brother's death was no accident.
So he does what he does best: he kills everybody. You know what you want, this movie has it and you're going to probably love it as much as I did. This is the kind of movie perfect for a lazy weekend afternoon or late night drinking session. Gary Jones also directed Mosquito and Boogeyman 3, as well as working on the visual effects for 68 movies in the last decade of so. As for Bronzi, his next movies include Mat Rats, a wrestling movie in which he plays The Dago and two Scott Jeffrey-directed movies, Exorcist Vengeance yes, Bronson and exorcism combined, as they always should have been and The Gardener.
Right, well with a movie such as "Escape from Death Block 13", then I have to admit that I wasn't really expecting much of anything grand. But still, I opted to sit down to watch it, since I hadn't already seen it. And while I can't claim to be much of a fan of Robert Bronzi, whom apparently made an acting career out of looking like Charles Bronson, then this particular movie was not really one that brought me to the edge of my seat.
Sure, "Escape from Death Block 13" was watchable, but it was a low budget movie. And the movie was never shot on location in a prison. Just take a look at the horrible green or blue screen work that the movie makes use of and wants to sell to the audience as taking place inside a prison. I was rather amazed that such lousy and questionable CGI would and could be seen in a movie. The storyline told in "Escape from Death Block 13" was pretty straight forward, though it wasn't anything memorable or overly enjoyable.
This was a pretty generic action movie with little solid contents to it. The acting performances put on in "Escape from Death Block 13" were dubious at best, so don't get your hopes up. The sound effects in the movie were shoddy. Especially the sound effects during the fight scenes.
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