Twelve years after Cairo, OSS 117 is back on a new mission at the other end of the world. As he tracks down a microfilm that is compromising for the French State, France’s most famous secret agent will have to team up with the Mossad’s most seductive lieutenant-colonel in order to capture a Nazi blackmailer. From Rio´s sunny beaches to luxuriant Amazonian forests, from the depths of secret grottos to the top of Corcovado’s Christ, a new adventure is about to begin. Whatever the danger, whatever the stakes, you can always count on Hubert Bonisseur de la Bath to find a way out… –Music Box Films
Michel Haznavicius (born 29 March 1967) is a French film director, producer and screenwriter best known for his spy movie parodies OSS 117: Cairo, Nest of Spies and OSS 117: Lost in Rio, both of which star Jean Dujardin. His upcoming film The Artist is scheduled to compete for the Palme d’Or at the 2011 Cannes Film Festival.
Before directing films, Haznavicius worked in television, beginning with the Canal+ channel, where he started as a director in 1988. He then moved into directing commercials for such companies as Reebok and Bouygues Telecom and made his first feature-length film, La classe américaine, for television in 1993. The film, co-directed with Dominique Mézerette, consisted entirely of footage taken from various films produced by the Warner Bros. studio, re-edited and dubbed into French. Haznavicius directed his first short film, Echec au capital, in 1997, and followed it up with his first theatrically released feature… read more
It is by far less funny and witty than the first film. It feels energetic, and original, but in the end, the result is merely tired. Lacking whatsoever any charm that the first had, it ends up feeling too long. In fact it seems to have at least two climaxes... If they had gone with the first, they could have cut 20 minutes of the film, that honestly, are not good or funny.
A French spoof of, well, a lot of things; but primarily James Bond and Alfred Hitchcock. The film reproduces the look and much of the style of movies of the mid-Sixties and does so masterfully. The… read review
Ca débute très bien où l’on retrouve de coutume des références aux filsm des années soixante aussi bien avec des clins d’oeil précis (Bébel et la scène de la piscine) ou de manière tout simplement… read review