Watching these five episodes, he gets to be a romantic lead, an action star and a suave model for trench coats, track suits and and some ridiculous disguises. He has simmering chemistry with Sagnier and Hesme, but he could probably have simmering chemistry with a baguette. Maybe Killing Eve suffered because the writers understood that both Sandra Oh and Jodie Comer were needed for the alchemy, while Lupin could last because only Sy is required. The show is still very entertaining, but even in leaving you wanting more - at least fans go into these five episodes knowing that’s it until Part 3 - you can see how it might not be sustainable it’s a bit like how Killing Eve had one superb season and then the strain of repeating the same tricks became too much. Assane is always four or five steps ahead of everybody to a degree that’s exhausting and, when Kay and the writers skip major logical steps in his process, it’s extra frustrating. Accompanied by Mathieu Lamboley’s score, Lupin has, like its hero and its literary inspiration, a magician’s swagger, daring you to see beyond the sleight of hand.Īnd beyond the sleight of hand, there’s often additional flash and little more. There are car chases across the French countryside, a spooky near-haunted house, romantic interludes along the Champs-Élysées and the Seine, plus a finale that’s pure Hitchcockian pastiche. It’s a new set of directors for Part 2, but Ludovic Bernard and Hugo Gélin maintain the series’ love affair with a good set-piece. It’s such a good ensemble that you only occasionally are bothered by how one-dimensionally hammy both Pierre and Garanger are as baddies. The second half of the season gives us more time with Antoine Gouy’s Benjamin, Assane’s lifelong sidekick a couple of good episodes built around Clotilde Hesme’s Juliette, Hubert’s daughter and Assane’s former flame and even the return of the orphaned puppy J’accuse. The five new episodes pick up immediately, following Raoul’s kidnapping and Assane’s ongoing quest for payback, as well as the independent investigation by Youssef (Soufiane Guerrab), an honest detective who can almost equal Assane’s appreciation for the fictional Lupin. Lupin creator George Kay left things with Assane and his ex Claire (Ludivine Sagnier) in a seaside town when their son, Raoul (Etan Simon), was seemingly abducted by one of Hubert’s henchmen. It became a race to see whether Assane would get to Pellegrini before the Paris police, led by bought-and-paid-for commissioner Dumont (Vincent Garanger), could catch Assane. In the series premiere, Assane executed a dazzling jewel heist at the Louvre, part of a Count of Monte Cristo-esque revenge plot against the nefarious Hubert Pellegrini (Hervé Pierre), the powerful tycoon who deceitfully got Assane’s father sent to prison, where he killed himself. Some imperfections, though, don’t detract from the gravitational force of Omar Sy’s star power, from the healing escapism of the Parisian settings or the show’s satisfying propulsion.įor those who have forgotten, Sy ( The Intouchables) plays Assane Diop, a master criminal who derives his inspiration and ethos from Maurice Leblanc’s principled “gentleman thief” Arsène Lupin. There are cracks in this too-flashy veneer that appear with the application of pressure. Lupin “Part 2,” as Netflix is preferring to designate it, probably doesn’t benefit from now-high expectations. Adam Sandler's New Netflix Movie Trailer: 'You Are So Not Invited To My Bat Mitzvah'
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