Realização:
Philippe de ChauveronCâmara:
Stéphane Le ParcMúsica:
Marc ChouarainElenco:
Christian Clavier, Chantal Lauby, Ary Abittan, Medi Sadoun, Frédéric Chau, Noom Diawara, Frédérique Bel, Julia Piaton, Émilie Caen, Elodie Fontan (mais)Sinopses(1)
Os franceses Claude (Christian Clavier) e Marie Verneuil (Chantal Lauby) são um casal abastado e muito tradicionalista. Católicos praticantes, são os pais de Isabelle (Frédérique Bel), Odile (Julia Piaton), Ségolène (Émilie Caen) e Laure (Élodie Fontan), quatro raparigas em quem depositaram grandes esperanças. Alguns anos depois de terem sido obrigados a receber na sua família quatro genros absolutamente improváveis, Claude e Marie vêem-se perante um novo desafio: as filhas e os respectivos cônjuges decidiram deixar o país. Os motivos são vários, mas totalmente incompreensíveis para duas pessoas que toda a vida se dedicaram à família. (Outsider Films)
(mais)Vídeos (2)
Críticas (3)
The Verneuil family returns after five years, together with their daughters and their multicultural sweethearts, and although the second part does not reach the quality of the excellent and fresh first one, it is still an above-average comedy with a lot of jokes and funny situations. I liked the that they didn't only draw from the first film when writing the script, but added something extra like refugees and an unconventional wedding. The ending may have been overly optimistic ("happily ever after"), but I still stand by my rating. A pleasant ninety minutes spent in the cinema with a quality piece that only proves that the French are well versed in comedy.
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Weaker for me than the first part for me. The charm of the theme has faded a bit, but here the director has prepared some interesting ideas, twists and thought processes. The humour rarely worked for me. I prefer situational humour in French films rather than dialogue, so for me it's slightly above average. 65%.
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How difficult recycling success can be is shown by the main plot itself. Four reasons to disappear and four ways to keep them are absolutely turned upside down, but I understand that coming up with something for the entire cast from the first one isn’t easy. The life optimism that splashes out of it is nice, but at the same time, I’m a bit uneasy with a world where the motto is "Paris, I’ll pay you." Most of the successful humor is provided by Clavier de Balzac and his wife, including the shovel-based neutralization of an Afghan with an Allah-knows-what kind of belt.
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