“時速２５０ｋｍのカー・チェイス！”
宅配ピザ配達員のダニエルは念願のタクシードライバーになった。スピード狂の彼の愛車であるプジョーは、どんな場所でもあっという間に客を送り届けることができる。ある日、マルセイユ警察のエミリアン刑事を彼が刑事とは知らずに乗せて猛スピードで警察署まで送り、スピード違反の現行犯で検挙されてしまう。その頃、市内ではドイツの強盗団による連続銀行強盗事件が相次いでおり、警察を悩ませていた。ダニエルは違反を見逃すことを交換条件に、エミリアンと共に強盗事件の捜査に協力することになった。
AIが作品の魅力を深く読み解いています
製作費: $8,700,000 (13億円)
興行収入: $44,218,015 (66億円)
推定収支: $35,518,015 (53億円)
※製作費・興行収入はTMDBのデータを参照しています。収支は(興行収入 - 製作費)で算出したFindKey独自の推定値であり、広告宣伝費や諸経費は含まれません (1ドル=150円換算)。
監督: Gérard Pirès
脚本: Luc Besson
音楽: Akhenaton
制作: Luc Besson / Laurent Pétin / Michèle Pétin
撮影監督: Jean-Pierre Sauvaire
制作会社: EuropaCorp / ARP Sélection / TF1 Films Production / StudioCanal
“Daniel” (Samy Naceri) is a record-breaking pizza delivery man in Marseille who is on the cusp of attaining his two greatest wishes. Sex with his pal “Lily” (Marion Cotillard) and his licence to drive a taxi. Then his phone reminds him that to achieve the latter he will have to, temporarily he hopes, forgo the former and get to the licensing centre. By way of some celebratory foolishness, though, he doesn’t have it long as he drives his cab like he rides his bike, and the local constabulary aren’t so impressed. Luckily, it’s the pretty hapless “Émilien” (Frédéric Diefenthal) who apprehends him and he has bigger fish to fry with some elusive bank robbers. He reckons he can use his new friend’s driving skills and intimate knowledge of the city to help him track the criminals down (he can’t actually drive!) and so now an unlikely pairing is born. Luc Besson has crafted an entertaining movie here that is a spoof of just about every cop/buddy-cum-heist film you’ve ever seen and for the most part it works. There is plenty of action on the streets, but there’s also some good fun to be had as the bromance develops and it soon becomes clear that “Daniel” would make a far better gendarme than “Émilien” ever would. Add to the mix the latter man’s frustrated affection for his colleague “Petra” (Emma Wiklund) and his ineptness seems to know few bounds. Both Naceri and Diefenthal work well together presenting an engaging, borderline slapstick, comedy that ends with an enjoyably high-octane homage to the “Italian Job” (1969) before scenes that might hint sequel! I enjoyed this.
