OSS 117: Rio ne répond plus (Lost in Rio) (2010)
Critic Consensus: Led by another appealing performance from Jean Dujardin, this sequel offers more absurdly fun action -- and more politically incorrect humor -- for fans of '60s spy films.
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as Hubert Bonisseur de la Bath/OSS 117
as von Zimmel
as The Countess
as First Nazi
as Second Nazi
as Le malfrat de Dietrich
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Critic Reviews for OSS 117: Rio ne répond plus (Lost in Rio)
All this is mighty silly, but there's something to be said for watching a French movie that, for a change, isn't about l'amour, existential angst, or madness.
The tenor, tone and immaculately lampooned art direction often make up for shtick that gradually grows thin in the belly-laugh department.
Strutting around like a rooster in a thin-lapeled suit, 117 isn't much different from other comic Bond figures, but the movies find a fresh and exceedingly rich vein of comedy in his airy sexism, racism, and colonialism.
The story is lame and the action is flaccid, but as Hubert would be the first to tell you, the French have a word for those who can't take a joke: c'est la vie.
Audience Reviews for OSS 117: Rio ne répond plus (Lost in Rio)
The best thing about this French comedy is its delicious '60s visuals with all the clumsy zooms and split-screens, and while the laughs are not so plentiful, the story has many inspired nonsensical moments in this fun spoof on the 007 series and spy movies in general.
This pre-dates the fame of Jean Dujardin in America, but was a breakout role for the comedy actor from France. In the sixties and seventies there were a string of French spy films with a male protagonist named OSS 117, who is now featured in this second film of the new series as a complete clod in comparison. In this film, such as Peter Sellers turn as James Bond in Casino Royale, OSS 117 is reworked as slightly bumbling. More so than that he is misogynistic, racist, and playfully arrogant and ignorant. Unlike a low budget parody film this was actually shot in relatively beautiful locations, with actual cinematography and principal photography to boot. It utilizes many forms of split screen, and is a finesse of French cinema, not only as an ode but as an actual spy film. What also sets it apart from the crass American counterparts such as Spy Hard and The Naked Gun, is that this film actually holds more than comedy, but an air of sophistication and restraint. Better than that, while the usual spy parodies have a makeshift cast of people who are truly enthralled by this uncouth person, this film lets the Israeli Mossad romantic lead hold her own amongst the male spies. She outright points out his faults and tells him about them in as mean a way as possible. Dujardin is in his own league here, as he maneuvers between likable and downright repulsive. His scenes are usually full of bandying about words that are intentionally offensive, while also being goofy and lovable in some respects. The villains are unbelievable, the storyline is epic yet ridiculous, and the shots of the film really resonant and bewilder with how amazing they are for the content. Beside that there is actual humor that relates to American sensibilities and somehow mimics the parody films of Leslie Nielsen. The only reason I didn't fully love it is that it doesn't always translate well, and my comedic choices are usually not as suave and as witty as this, so for myself it was a different kind of experience. Still, this is a delight and is worth our attention.
Jean Dujardin is absolutely perfect in the role of the charming, quintessential French spy of the 1960s, OSS 117. Lost in Rio is slightly weaker in wit than its predecessor Cario: Nest of Spies, but I suspect that has much to do with the French-language jokes not translating to English so well.
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