[yasr_overall_rating]
Two Puerto Rican NYPD detectives head to Paris to track down a stolen handbag.
“Puerto Ricans in Paris” brings back the 80s style buddy cop comedies many of us grew up on. While it reminds us of classics such as “Lethal Weapon,” “Beverly Hills Cop” and “48 Hours,” it fills up the screen with funny moments, but doesn’t quite have the tension of those films. Luis (Luis Guzman in top form) and Eddie (Edgar Garcia) play New York police officers specializing in taking down rackets peddling fake brand name goods to tourists. When they make a big bust and Luis steals the spotlight in a TV news interview, a French fashion mogul, Vincent (Frederic Anscombre) and his new protégé, Colette (Alice Taglione), seek their help in recovering a stolen high end fashion purse, one of only two in the world. So, Luis and Eddie step out of their New York City confines into the cosmopolitan world of high class, hipster Paris. Luis, who fancies himself quite the ladies man, struggles to cope, while Eddie goes with the flow and finds himself full of attention and new friends. As an added bonus, we are treated to excellent, but criminally underused appearances by Rosario Dawson, as Luis’ girlfriend Vanessa, and Rosie Perez as Eddie’s wife, who also happens to be Luis’ sister.
Newcomer Ian Edelman and Neel Shah give us a script full of interesting and funny moments, but fail to keep the audience guessing and focused on the central mystery. Edelman’s direction plays soft on thrills, but full of hard driving fun. The script itself could have easily sunken into mediocrity, but Edelman wisely steps back a bit and lets Guzman do his thing. If anyone has ever wondered whether Guzman could carry a film in the leading role, the answer is a resounding “Yes.” He displays sarcasm and frustration better than almost any comedian working in film today. While his role is essentially a mash-up of the many minor characters he’s played over the years, it works well because of his charisma on screen. Garcia plays Eddies weary affability as the perfect foil to Luis’ brash over confidence. He goes toe to toe with Guzman and handles his scenes well. He’s a perfect choice opposite Guzman because his more subtle style is every bit as powerfully comedic as Guzman’s over the top brashness. A veteran of French cinema, Taglioni gives Colette the proper amount of naive idealism balanced with enough intelligence to believably portray a fashion auteur. Her role remains important, and she has good chemistry with Garcia and her other scene partners; but Guzman’s opulent personality overwhelms her at times. Alcombre is vastly overqualified for his pedestrian role as Colette’s business partner, Vincent. As is always the case, Dawson and Perez hold the screen in every scene they’re in. I have a really hard time understanding why these two extraordinary women don’t show up in more high profile roles. Their talent and appeal remain excellent, and each carries a bold screen presence.
Edelman seems to give his actors a wide berth in creating these characters. He makes quality use of hip-hop and pop music to accentuate the comedy in some areas. While many of the jokes have been done before, the environment and talent on screen make them seem fresh and funny. He does this to the detriment of the plot, however. At times, the scenes jump from one to another more like loosely related comedy skits as opposed to a smoothly connected plotline. I suppose, though, mystery is not the point here, comedy is. On that front, “Puerto Ricans in Paris” breaks loose as a wild success.
This film is one you watch with friends to relieve the stresses of a long week. It’s light fare, but the performances carry us into a fun place, where the fish out of water experiences are left to Guzman, and everyone is obviously having fun. Check it out. You’ll be glad you did.
In theaters now
