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Dumont does get some outrageous laughs sometimes (although his lame borrowing of Buster Keaton’s falling wall gag didn’t add much)... The four-hour spectacle passes in a state of gentle, amused surprise.

The series, like its predecessor, is basically a bumbling group of vignettes which all revolve around a comedy of errors and rampant miscommunication...

Dumont hasn’t been a comedy director for very long but it now seems impossible to imagine a world without his endearingly ridiculous sense of humor and his genuine love for his affably weird protagonists. Dumont’s comedies are a gift we were never promised and now they’re something we should never have to live without.

CoinCoin progresses sluggishly compared to P'tit Quinquin’s breakneck pace. But Dumont weaponizes repetition and emotional listlessness to hilariously mirror what it feels like to be helpless in a world slowly going to hell in a hand basket.

Rather, with its ambling, directionless narrative and lackadaisical long shots that perversely undercut the screenplay’s gags, Coincoin evokes a deep-rooted spirit of reactionary malaise, of people whose lives are hopelessly circumscribed by their own fears and prejudices.

What makes it so entrancingly odd isn’t the non-sequitur humor or cartoonish characterizations, but rather the fact that Dumont presents them in the same rigorous, Bressonian aesthetic he’s advanced since his debut feature, The Life of Jesus (1997).

CoinCoin and the Extra-Humans takes the tropes and character types from the first movie and accentuates their extremities. If Quinquin was casually racist, then CoinCoin has solidified his ignorance in political beliefs.

It’s a radically loopy, politically confrontational, grandly geographical, infinitesimally detailed transfiguration of familiar police-investigation dramas, and to merely describe it in broad strokes is to give proof of Dumont’s profuse imagination and symbolic ingenuity.

As entertaining as the farce is, and as hilarious as some of the story’s more, to put it mildly, unusual scenes are, CoinCoin can’t help but feel scattershot and short of an emotional core.

Ultimately, “CoinCoin and the Extra-Humans” reveals itself to be a farcical socio-political riff on “Invasion of The Body Snatchers,” minus the eerie terror of it all. And really, it’s for Dumont completists only. And likely, unless Dumont is a sadist (well…) this feels very much like the end of the ‘Quinquin’ saga...

Dumont is happy drawing attention to his repetitive gags and, perhaps inevitably, they become funnier and funnier.

Once again, Dumont’s trump card is the amazing performances by Bernard Pruvost and Philippe Jore as police investigators Roger Van Der Weyden and Rudy Carpentier... All four episodes are excellent, and the body doubles are a tribute to the great cinematic tradition of doppelgangers.