Nicky Larson et le Parfum de Cupidon
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Nicky Larson et le Parfum de Cupidon

When it was announced that an adaptation of Nicky Larson (City Hunter for purists) was going to be produced in France and made by Philippe Lacheau (“Babysitting”, “”), we must admit that we all was scared, very scared. A fear that has not been calmed by the first images and trailer, far from it. But now that the film is out, what is it really about this adaptation and beyond the vision of the fans of the first hour, is it, simply, a good or a bad movie?

Well the first thing that jumps to the eyes (finally from the first after the scene of introduction of the film) Trading Paint is that this “Nicky Larson and Cupid’s perfume” transpires the tribute by each pixel of the image. We find essentially all the gimmicks best known cartoon but also many nods to the original manga, although this adaptation is still more an adaptation of the series than City Hunter. Moreover, the only (pseudo) false note is the fact that much of the action takes place in the south of France, withdrawing a little, in terms of decorations, this urban side that City Hunter had.

We feel however that Philippe Lacheau was a true fan and that he did his best to transcribe the spirit of the series without “betraying” the fans and while making a film in the line of his filmography, and it is there a success A Madea Family Funeral Maybe even a little too much. Indeed, the multitude of good ideas to echo the series (without ever falling into pure fan service) is at the expense of dramaturgy, the stakes of the characters being introduced much too expeditiously for us actually attaches to it. That said the story, although predictable, remains good and pleasant to follow, except perhaps the first scene, a bit too heavy, which is really badly brought.

Side staging, apart from the gimmicks of the series that we find, Firebrand we can say that Philippe Lacheau was pleased. He multiplies the audacities of realization in the image of action scenes that are full of good ideas, as when the camera will often follow the movements of the protagonists, recalling the work of James Wan on “Fast and Furious 7” or “Aquaman” for example (a certain virtuosity in less), or the very well thought-out subjective sequence shot recalling Hardcore Henry among others. The jokes, they still foinctionnent as in his previous films, with always a sense of Alita Battle Angel timing perfectly mastered and an effective editing, well anchored in the style of Lacheau and at the same time in the style of the series and the original work .


IMDb: 5.8

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