Film It's a long story which involves a lot of this:
La stratégie de la poussette
From Paris With Love
The Brothers Bloom
The Stroller Plan/Strategy (the anglaise title depends on where you are in the world) is a pretty typical example of why I've decided to watch all of this French cinema. The tendency with national cinemas that are not your own is just to see the award winning material distributed by boutique labels or studios whereas to properly understand the structure of a national cinema you really need to see everything and that includes the pretty generic, mainstream romcoms. In The Stroller Plan, a freelance artist attempts to win back his girlfriend who split with him because he didn't want to have children with her by pretending to be the father of a baby who's tumbled into his hands after a neighbour has an accident. She happens to own a nursery having given up her job as a pediatrician and hilarity ensues.
Actually no it doesn't. I laughed once, not that I can remember why . It's a series rote comic situations that much better writers and comedians could probably make something of, a French studio reaction to Apatow by producing a movie length sub-plot from What To Expect When You're Expecting which is less vulgar than both. The leads are all perfectly fine but they're given nothing to work with. All of which said, it's still fascinating to see all of this playing out against historic architecture rather than the modernist steel and concrete of US films (unless they're brown stoning) and the credit sequence is really nice idea as the many floors up to their apartment each illustrate part of their initial relationship from the couple's first drunken night together after a party through to the break-up when they reach the top.
Six years after District 13, and two years after Taken ("I will find you..."), here's From Paris With Love another of Luc Besson's action productions which all pretty much have the same story of a mismatched couple destroying half of France through cars and heavy weaponry in order to do a thing. Unlike Taken which was more akin the US-style in narrative and characterisation terms, this strings together a series of barely replated set pieces (something to do with a counter terrorism operation related to drug lords) (I think?) (it's a bit like Quantum of Solace in that it seems as though there's a whole scene's worth of exposition that's gone missing in the middle) and gives Jonathan Rhys Meyers and John Travolta characters which barely stretch beyond their wardrobes.
Mostly it's the kind of this liked by the kinds of people who like this kind of thing. In comparison to District 13 it feels a bit restrained and dirgy like John Woo's US films, as though a director is reigning in their abilities either due to time or needs of the mainstream marketplace. The action sequences are nowhere near as balletic and impressive as District 13 or indeed any of the Besson related material in production in the late 90s to early 00s. Much of the time it's nearly impossible to understand the structure of some sequences, just sets filled with squibs and bullet holes. There's also a really depressing running gag about Travolta referencing past film glories that just seeks to remind us how good he was during his revival and how far he's fallen since.