In the ruthless and inexhaustible universe of the second opus, it is rare that some are better than the original film. What have we done to God? this highly anticipated sequel sadly deviates from this rule. The film, which is still directed by Philippe de Chauveron and the original cast – Chantal Lauby and Christian Clavier – is again full of a comedy that falsely prejudices to condemn them better. If we take the same recipe by slightly changing the story of the film and adding a few actors, we will find families and Verneuil Koffi together. 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). An opportunity for parents to meet their four teeth. The family situation in Verneuil has changed somewhat since the first film: the four daughters of Isabelle, Odile, Ségolène and Laure, want to fly to follow their wives in their country of origin, and their parents can not keep them back.
When the old guard stores the film
Frédéric Chau, who plays Chao, one of the four deceased, said, "I think this second part will be controversial as well as the first, but in a different style, because what we have done to God is dealing with sensitive topics such as identity, religion , but the excitement has caused disappointment, in the desire to condemn racism, segregation, French reluctance (people famous for being grumpy), the film is a lot of cliché used stupidly, gagy predictable, simplistic and racist, assembling a sketch of all races and religions without originality or creativity that forces us to forget that the film is primarily a story-driven story.
Poverty of dialogues and lack of freedom in actors' acting do not secure things. Among Ary Abittan who makes his show, Frederic Chau and Noom Diawara (pseudo-actors) and girls who have minor roles, there is little that the benefits of seniors who remain to rent. They are the most entertaining characters in the movie. Christian Clavier, who, despite his extra pounds, controls the casting often light, smooth and interchangeable, and Chantal Lauby in the old bourgeoisie, but does not forget that before being catho is especially a mother, he keeps the film standard,
At a time when everything is slipping, where the political parties are inconsistent, where some media tend to darken the image of the nation, where everything is not so bad (still), fired before the vestment Yellow, the film represents a social discourse, neither right nor left, aimed at cohesion, and trying to reassure the spirit in the premonitorial dynamics (the yellow vestments), and to gather people eternally depressed, always muttered, who likes to represent as a sacrifice and which is from the age of the strike. People who are overloaded are still uncertain and require more flexibility. The film has a merit on the preaching of a nation capable of living in harmony, and especially enjoying a country so enviable. As a conscious philosopher, Clavier rejects a French identity card, seizing his rights to ruin, disagree, argue, and even accept the strike with some delight in color. the local to defend his country better, his real values and his battles won with the penetration of a rather well-seen marriage for all and honoring the former Justice Minister and Justice Minister Christiane Taubira. A film that boasts a message that shows that French diversity, before it is ethnic or community, is mostly social and economic, and today it is breaking the whole country into chaos inseparable. The film certainly can not remain indifferent, because its approach to delicate themes does not look like an enormous work that has chosen laughter for laughter. He longs for a reflection on his own. But to confuse "playing a comedy" and deliberately mocking without a creative axis. At a time when this color is up to date, we can only laugh "yellow."
In the news