Already in 2019, in full promotion of ‘My God, but what have we done to you … now?’, Philippe de Chauveron has already commented on his plans to make a third installment of this particular comic sagaone of the most successful realities of the current French industry, which has managed to cross the borders and find its place in the international market, with a Christian Clavier already recognized beyond his native France. After a slight delay due to the coronavirus pandemic, “My God, what have you done to us?”what aspires to be the finishing touch to a trilogy that closed its target audience to its most loyal fans.
The first delivery was an extremely sour propositionwhich left a certain aroma of black humor in the midst of purely commercial situations, in a sort of hyperbolic “Guess who’s coming tonight”, in which the ethnically diverse genders have been multiplied by four. It turned out well, thanks to a maliciously amusing and politically incorrect humor, which showed the complexes of a French society that, from the outside, remembers being the European country with the largest number of mixed marriages, albeit, behind closed doors, More than one parent was startled when they discovered that their future son-in-law or daughter-in-law is from a different culture or ethnicity than theirs.
An affirmation which, however erroneous it was, was devoted to harmony and the breaking of prejudices. His entourage made the mistake of being more or less the same, which caused him to lose a lot of points from the first installment.above all because he did not feel completely justified and the alleged central plot, the love between the Senegalese sister-in-law of one of the protagonist daughters and his girlfriend, remained in a discreet context, believing that the accusation in favor of the same – the marriage sexual was a simple excuse to introduce jokes that were starting to sound like stale and outdated humor.
An old formula
Unfortunately, the third installment is not only more equal, but worse. On this occasion, the arrival of the in-laws is the excuse to bring the whole family together. Yes, of course, the premise seemed more prone to situations that could bring the audience back to the same irony as the first episode … but no. The film is lost in a series of midlife crisis sequences with a humor that is too soft and with predictable plots that try to leave behind the formula of making fun of racism or social xenophobia.
The result is a desktop comedy from the group, with a much wasted ensemble cast. In-laws are mere props, as only the main wedding embodied by Christian Clavier and Chantal Lauby and of course the Koffis continue to work, formed by Pascal Nzonzi and Salimata Kamate, who once again act as a counterpoint. It is useless, however, that they have sequences with a witty comment, considering that the tape lasts 98 minutes. The script signed by Chauveron himself with Guy Laurent is terribly lazy, as if he believes the film will be a success no matter what.
And yes, in France it has devastated, it is the French film with the highest grossing of 2022 and one of the ten most viewed ever. However, That doesn’t mean it’s a comedy with a wasted premise, a far more antiquated humor than the previous two installments, and too large a cast for what, in the end, is the story. With this, he remembers that, despite the French industry producing purebred welfare comedies and entertaining and quality commercial propositions, it also launches proposals that represent the worst cliché of French humor, as is the case.
Note: 4
The best: Koffi’s scenes.
Worse: A humor that no longer makes you laugh and a plot that seems to have been made on autopilot.
Source: E Cartelera
