Rush Hour 3 wastes no
time leaping straight into action and comedy, which perfectly recreates
the tone and mood of the first two films. Despite the fact that
the story takes a backseat to the action, and the general events
that occur are overly repetitious amongst the trilogy, it doesn’t
attempt to camouflage itself as anything more than meets the eye.
Perhaps most disappointing is the predictability of the antagonists
and the nearly identical counterpart demises and plot twists.
All the principle players return, including a few surprises,
such as references to Isabella from Rush Hour 2 and a grown up
Soo Yung, and even minor supporting characters such as the police
chief. But the spotlight still unquestionably belongs to Tucker
and Chan. While Chan is famous for his extraordinary martial arts
skills and the fact that he does all of his own stunts, his age
is beginning to interfere with the vigor and intensity of the
stunts he’s willing to attempt. Less spectacular fight sequences
are replaced by humorous events choreographed into action - even
green-screen work that demonstrates risibly illogical stunts make
a disappointing appearance. Chan at least knows how to be creative
with his fighting, and in his familiar fashion, makes use of tables,
chairs and random props to engage in comical battle. The most
impressive stunts are those of the villains who pursue the duo
across the streets of Paris in fantastic van and motorcycle chases.
It is refreshing to see violence portrayed in such a facetious
manner and yet still be equally amusing and precarious. Tucker
uses his fast-talking mouth instead of brawn, and while the first
two films create a mild distaste for his brand of obnoxiousness,
here it is channeled directly toward villains, so the audience
can wholeheartedly side with his boisterous blathering.
The Rush Hour films have always been a series of action and comedy
sequences loosely strung together by plot. It’s as if the
gags are derived first; the story often feels trite and unoriginal
and Rush Hour 3 is no exception. But the chemistry between Tucker
and Chan reaches a new high, and the sensational setting of “The
City of Lights” allows for a whole new slew of racial jokes
and political incorrectness. A “Who’s on first?”
routine (obviously inspired by Abbott and Costello), a prim nun
translating foul language, and George the anti-American French
taxi driver are examples of witty additions to the familiarly
mischievous comedy showcased in the series. The inclusion of supermodel
Noemie Lenoir is terribly expected, and screen legend Max Von
Sydow can’t seem to summon life into his predictable role.
A showdown on the Eiffel Tower and the amazingly hilarious signature
outtakes are other high points, but Kenji’s forced villainy
and pathetic character development remind us that Rush Hour 3
is a simple film with un-ambitious goals. While nothing is terribly
memorable or awe-inspiring, constant bits of crudeness and slapstick
humor make the occasion worthwhile even if you can’t remember
enough funny moments to tell your friends.
- Mike Massie
