If you read us at least since the beginnings of the saga on Netflix in 2020, you know that despite some reservations, we are rather lovers of the work of the director and screenwriter Guillaume Pierret on Bazzle PERDUE 1 & 2. A generous action cinema that ignores its narrative weaknesses to send cars to scrap and extras to the morgue. So when Master Pierret, on a perched camera, held in his hand a Lost ball 3by the enticed smell, we tied him roughly this language: let the baby see, we want our adrenaline shoot!
Nevertheless, since it is still necessary to pretend to be a minimum of the script, here is what you need to know about the intrigue of the film: Areski (Nicolas Duvauchelle) returns to France after being betrayed by his former boss, Commander Resz (Gérard Lanvin). The latter is at the top of the food chain for rotten cops. Inevitably, the return to the territory of the responsible for the death of his brother and his mentor arrives at Lino’s ears (Alban Lenoir). With the help of Julia (Stéfi Celma), he will track Areski, even if it means putting himself on the back.
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The first Loss ball had made a huge box, 37 million views according to Netflix, and it was obviously that the streaming platform was going to capitalize on the desires of large coffers of its author. The second part almost completely abandoned the story to push the sliders of the big show. For this third opus, Pierret adds the talents of Caryl Ferey, screenwriter of Compromise. A way to find the paths of the narrative red thread and to conclude the antagonism between Lino / Areski. Lost ball 3 try to build your intrigue By rewriting the initial account via flashbacks and giving more depth to the character embodied by Duvauchelle, far from being only the man to be killed.
The hero gets a lost ball
The intention is laudable, however the writing with four hands does not gain in finesse and we are entitled to Beautiful enormities. We have fun seeing Resz completely underestimating Lino when we talk about a man who has cleaned a police station with his fists … twice. A lack of consideration for the hero who is explained more by the scriptwriting needs than by logic, the police commander being The archetype of a bad James Bond Forced to leave the hero alive otherwise … no film.
More generally, Lino is perhaps the main problem of the feature film. And we are not talking about Alban Lenoir’s haircut. The character appears here at the end of the race as well in presence on the screen as in interest for the story and, except for the action scenes, the scenario does not seem to know what to do with him. Unable to make Lino more than a protagonist in search of revenge, the story turns more and more on the side of the tortured Areski.
Carried only by its status of hero, Lino will go from stage to stagewithout really influencing history, to the point where the film could do without its presence by playing on a trio Areski / Julia / Resz (or Yuri). Afterwards, it remains funny to see the rest of the cast barely taking him into account despite the damage he causes in three films.
An action between blows and soft blows
Again, if you have read our previous criticism of the franchise, you know that it is not the scenario that could convince us that the project smells of feet, as we are honest in what we really come here. We say it from the start, We like Pierret the director, the scriptwriter less. And if we have to underline the gaps of one, we especially appreciate the efforts of the other.
Fortunately, the director has lost none of his desire to give us full view with a minimum of means, a maximum of effects. By using digital as little as possible, Pierret will push the cursor by three when it comes to going in a chase in the streets of the city with three vehicles for ten minutes by playing with town planning. Also by three when we are entitled to a Small hole fight in a tribute to the Hong Kong films aboard a tram. Sequences that remind us why we jump on each new opus when it comes out on Netflix.
The director is a player and has fun with everything that comes to hand by trying to renew his action, so that this does not resemble the sequences of the previous two components. Exit the Renault or the Alpine, hello the tow truck transformed into a duel with a helicopter. It’s always any big anything, but it is designed with energy and a desire to have fun and please.
However, Lost ball 3 tends to leave us hungry. Not that the action is absent, we have quoted beautiful examples above, but this third part is not surprised by the first and not the exuberance of the second. Suddenly, we find ourselves in an in-between which lacks a bit of balance and novelties. If we appreciate the cars ending in heaps of scrap, we regret that The film rests a lot on these sequences. Where the second opus let its actors come out of vehicles to play it foot, fist, without rule, it is satisfied with a sequence whose pleasure would call others. Even Stéfi Celma, who had had his moment of glory in the previous feature film, will find himself trapped behind the wheel.
Where the saga Fast & Furious has always taken care to go further in exaggeration, Lost ball 3 Bring new while being somewhat timid. If fourth opus there is, we want to tell Guillaume Pierret to assume his bad boy side of big spectacle fan and offer us his Expendables – He still has the characters for – with all the exaggeration and the talent which we know capable of.
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