In the implacable and inexhaustible universe of the second work, it happens exceptionally that some are better than the original film. What have we done to God yet? this highly anticipated sequel unfortunately derogates from this rule. The film, still directed by Philippe de Chauveron and the original cast – used by Chantal Lauby and Christian Clavier – is back in its entirety to a comedy that mocks preconceptions to better denounce them. If we take the same recipe, changing the story of the movie a bit, by adding some actors, we find, however, families and Verneuil Koffi together in full. In the first episode, Marie and Claude Verneuil (Chantal Lauby and Christian Clavier) married their four daughters, Isabelle (Frédérique Bel), Odile (Julia Piaton), Ségolène (Émilie Caen) and Laure (Élodie Fontan). The opportunity for parents to meet their four sons-in-law. Verneuil's family situation has changed a bit since the first film: the four daughters of the couple, Isabelle, Odile, Ségolène and Laure, wish to fly to accompany their respective spouses in their home country, and the parents will do the same. impossible to retain them.
When the old guard saves the movie
Frédéric Chau, who plays Chao, one of the four sons-in-law, said: "I think that this second part will be controversial, like the first, but in a different style, because what we have done to God still deals with sensitive issues such as identity, but the excitement gives way to disappointment when, in the desire to denounce racism, segregation, and the Frenchman's discontent (people famous for being grumpy), the film is a bunch of used clichés Stupid, predictable, simplistic and racist jokes, a set of sketches about all races and religions possible without originality or creativity that make us forget that a film is, above all, a story-driven story.
The poverty of dialogues and the lack of freedom in playing the actors do not organize things. Between Ary Abittan, who does his show, Frederic Chau and Noom Diawara (pseudo-actors) and girls who have smaller roles, there are little benefits of the elderly who remain to rent. They are the funniest characters in the movie. Christian Clavier who, despite her extra pounds, dominates an often lightweight, smooth and interchangeable cast, and Chantal Lauby in the old bourgeoisie, but who does not forget that before being a cat, she is especially mother, maintains the standard of the film.
At a time when everything is slipping, where political parties are discordant, where some media tend to darken the image of a nation where everything is not so bad (yet), shot well before the attack of yellow vests, the film proposes a societal discourse, neither right nor left, focused on cohesion, and tries, as in a premonitory dynamic (yellow vestments) to appease the spirits and to reunite a people of eternal depressive, always grumbled, who likes to pose as victim and who is since the beginning of time. An overloaded person, permanently insecure and demanding more flexibility. The film has the merit of preaching a nation able to live in harmony and, especially, to enjoy a country that many others envy. As an informed philosopher, Clavier brandishes his French identity card, to take advantage of his right to moan, disagree, argue and even accept the strike with a certain pleasure in its color. local, to better defend their country, their true values and their battles overcome with the intrusion well seen marriage for all, and a tribute to the former Minister of Justice and Justice, ministers Christiane Taubira. A film that could boast of being in the limelight of a story that shows that French diversity, before being ethnic or communal, is mainly social and economic and that today plunges an entire country into chaos. inextricable. Certainly the film can not leave indifferent, because it does not appear, by its approach of delicate subjects, like a work without grace having chosen the laughter to the laughter. He pushes for reflection, already in his own speech. But he confuses "play comedy" and deliberately pretend without a creative axis. At a time when this color is topical, we can only laugh "yellow".
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Yara ABI AKL