Paris really should start advertising the Royale with Cheese more.
A personal aide to the US Ambassador in France, James Reese (Jonathan Rhys Meyers) has an enviable life in Paris and a beautiful French girlfriend, but his real passion is his side job as a low-level operative for the CIA. So when he’s offered his first senior-level assignment, he can’t believe his good luck – until he meets his new partner, Special Agent Charlie Wax (John Travolta).
After striking gold with his semi-Europa thriller Taken, director Pierre Morel teamed up with producer Luc Besson to give us exactly what we would want from these two dudes: Loud action, loud guns, loud people, and a story that makes no sense whatsoever, but was still loud enough to where we think there was something going on that resembled a story.
Then again though, with these two dudes, it’s all you need.
The whole film makes it seem like Morel and Besson just had so many wild and insane ideas for action sequences, that rather than just trying to fit them into a cohesive story, they just went the other way and allowed the action scenes to go first and have the story come second. This would have been terrible for most movies out there, however, From Paris with Love has this great sense of fun and excitement in it, that it’s hard to be too mad at it for forgetting about something of a story. Basically, the story is just there to service the action and help speed things along. It doesn’t get in the way too much, which makes the run-time go on by a whole lot smoother, and even allows for the action sequences to hit a lot harder.
One scene in particular where the action really kicks ass is when Travolta’s character goes into a Chinese restaurant, asking where coke is, and eventually getting so sick and tired that nobody will admit it to him, he decides to blow-up the whole place with a machine-gun of his, taking out Chinese drug-dealers left and right. It’s a pretty memorable action sequence and there are plenty of other ones that may not be as memorable as this one, but definitely some that add a whole level of “fun” to this film. Just exactly what you need.
However, the main problem with this film is that when the action isn’t going on, the story does eventually take over and can be a bit of a snoozer. Because the movie’s action scenes are so rad, and the fact that both Besson and Morel know this, the story comes off as total second-nature to this movie, which means that a lot of the scenes spaced-out for character and plot development, all come and go with a whimper. It’s understandable that movies like this need something of a story to help measure things out and make sure it’s not a constant barrage of guns, explosions, and death, but to me, this movie could have probably cut-out at least twenty minutes of scenes where people are just talking, left everything else, and it would have been fine. I know that certain movies need that breather or two, but From Paris with Love isn’t that terrific of a movie to get away with any downtime.
It needs to keep going and going, no matter what!
But, where some of the scenes involving people talking get something of a slide is because they feature what can be seen as a return-to-effin’ form from John Travolta as the loose-cannon, Charlie Wax. Travolta hasn’t had the best career in the past decade or so years, but he shows that with roles like these, he still has some of the best delivery when it comes to one-liners, can still come off as a pretty intimidating dude, and has a way of making himself so likable, that it doesn’t matter what sort of violence he’s causing; as long as he’s got that winning-smile of his, all is well.
Though, there is something to be said for Travolta’s electricity in this movie, and that’s that he actually sort of ends up working against the movie. Sure, he’s over-the-top and clearly having the greatest time of his life chewing into this role, but he turns out to be the film’s double-edge sword – because we can’t wait to see when he’ll pop up next, or what he’ll do when he does show up, he steals the movie from mostly everybody else around him. In this example though, I guess the one person he mostly steals it from is Jonathan Rhys Meyers who is, sadly, saddled with the straight-man role that I don’t know if he’s quite up to handle.
Rhys Meyers is fine because he’s handling the material exactly as it was probably presented to him, however, he’s a tad dull, in a role that was probably written that way to begin with. So I guess that maybe some of the discredit here should go against the writers who decided to give this character barely any personality to be found whatsoever (except for “boring”), but it also brings up the key fact that maybe they could have given Rhys Meyers’ character more moments that were his, and his alone. The majority of the movie is spent with him playing second-fiddle to Travolta and whatever the hell his character’s doing at that given point in time, so we rarely get to see him really branch out and show anything resembling an attribute the movie. Maybe playing it stiff and straight was all that Rhys Meyers needed to do, but here, there’s still a feeling that there needed to be a bit more, just to help us identify with him slightly more.
Then again, things do blow up here, so I guess it’s not all that bad.
Consensus: Though it has a weak story, From Paris with Love mostly gets by on its insane, balls-to-wall action that helps give John Travolta’s lively performance a perfect suitor in his wrath of absolute mayhem.
6 / 10
Photo’s Credit to: Thecia.Com.Au