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Wildly overbudget and overschedule the picture had to very expensively move from Paris (a bureaucratic nightmare to shoot in even if you are being professional about it) back to Los Angeles, ending up costing more than four times as much as the original, losing money on its theatrical release and killing the franchise.
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The film was a notoriously troubled production, with Ratner’s reportedly lax work ethic seeing him spending so much time on his mobile phone rather than shooting the film that studio chief Robert Shaye tried to have his signal jammed to get him to do some work, with no success, and taking the rare step of publicly criticising him in the press before the movie even opened. Yet while it's a long way from the surprisingly enjoyable first entry in the series, it's still watchable if you're in a particularly undemanding mood, and Chan has certainly done much worse for American studios. No surprises in what passes for a plot but is really just an excuse for the two stars to strut their stuff - when you've got an ex-Bond villain in the cast there aren't many shocks who the baddie turns out to be, though Chan turning out to have a Japanese brother in the triads must have caused a few raised eyebrows in Hong Kong.
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Just to show he's not playing favorites this time, Ratner ensures that the action scenes are just as typically lazily staged as if to prove that the surprisingly good ones in X-Men 3 were a one-off that probably owed more to a well storyboarded second unit than him finally learning how to shoot action.
The comedy isn't exactly well executed, varying from a bad version of Yu's On First that suffers from lousy comic timing from both Tucker and the film's editor, Tucker pulling a gun on Yvan Attal's French cabbie because he - entirely reasonably - doesn't want to drive Tucker (not because he's black but because he's a loud and obnoxious American) to an anal exam by Roman Polanski's French police inspector with a Clouseau `tache. There's both less and more of the newly Supersized Tucker this time round: fewer of his unimaginatively improvised rants make the cut this time, but there's a lot more of him in an auditioning for Big Mamma's House 3 way. Still, Chan has at least one good stunt with a flag before it develops into too much of a spinoff of one used in A View to a Kill (and on the same Eiffel Tower location). Unfortunately not much of it is done very well, with rushed action scenes and - unforgivably - some pretty obvious CGi and stunt doubling which makes it pretty clear that after three films he still doesn't get what the whole point of putting Jackie Chan in a movie is. For starters, Brett Ratner has remembered that Jackie Chan's in the movie too and gives him something to do this time instead of pretty much reducing him to reaction shots to Chris Tucker's endless witless improvisation. So, is there anything good to say about Rush Hour 3? Not much, but there's less bad to say about it than Rush Hour 2, which is something to be grateful for at least. To learn more about how and for what purposes Amazon uses personal information (such as Amazon Store order history), please visit our Privacy Notice. You can change your choices at any time by visiting Cookie Preferences, as described in the Cookie Notice. Click ‘Customise Cookies’ to decline these cookies, make more detailed choices, or learn more. Third parties use cookies for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products. This includes using first- and third-party cookies, which store or access standard device information such as a unique identifier.
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