Remarkably redundant and yet still entertaining, Brett Ratner’s “Rush Hour 3” brings back the exhilaratingly hilarious Jackie Chan and Chris Tucker duo. The villains are cliché and ill-contrived, and the story is a mess of unnecessary subplots and meaningless back-story, but clearly comedy is key. From the first moments of the film to the predictable last, Jackie Chan and Chris Tucker demand attention and we willingly comply. The fight sequences are creatively uncommon, and the comedic chemistry between Chan and Tucker never ceases to amuse and amaze. By the time you’ve seen all three Rush Hour films, you won’t be able to decipher the events from one to another, but you’ll still be more than satisfied at having watched them.

Chief Inspector Lee (Jackie Chan) and LAPD Detective Carter (Chris Tucker) are back in the U.S. to avenge Ambassador Han who is nearly assassinated when he attempts to disclose information about the ultra secretive crime syndicate, the Triads. Their investigation brings them to Paris where mysterious nightclub dancer Genevieve (Noemie Lenoir) may be the only clue to uncovering the assassination plot and the marks against their lives. Lee must also come to terms with his longtime friend Kenji (Hiroyuki Sanada) who may be on the wrong side of the law and at the heart of the conspiracy.

Rush Hour 3 wastes no time leaping straight into action and comedy, which perfectly recreates the tone and mood of the first two films. Despite the fact that the story takes a backseat to the action, and the general events that occur are overly repetitious amongst the trilogy, it doesn’t attempt to camouflage itself as anything more than meets the eye. Perhaps most disappointing is the predictability of the antagonists and the nearly identical counterpart demises and plot twists.

All the principle players return, including a few surprises, such as references to Isabella from Rush Hour 2 and a grown up Soo Yung, and even minor supporting characters such as the police chief. But the spotlight still unquestionably belongs to Tucker and Chan. While Chan is famous for his extraordinary martial arts skills and the fact that he does all of his own stunts, his age is beginning to interfere with the vigor and intensity of the stunts he’s willing to attempt. Less spectacular fight sequences are replaced by humorous events choreographed into action - even green-screen work that demonstrates risibly illogical stunts make a disappointing appearance. Chan at least knows how to be creative with his fighting, and in his familiar fashion, makes use of tables, chairs and random props to engage in comical battle. The most impressive stunts are those of the villains who pursue the duo across the streets of Paris in fantastic van and motorcycle chases. It is refreshing to see violence portrayed in such a facetious manner and yet still be equally amusing and precarious. Tucker uses his fast-talking mouth instead of brawn, and while the first two films create a mild distaste for his brand of obnoxiousness, here it is channeled directly toward villains, so the audience can wholeheartedly side with his boisterous blathering.

The Rush Hour films have always been a series of action and comedy sequences loosely strung together by plot. It’s as if the gags are derived first; the story often feels trite and unoriginal and Rush Hour 3 is no exception. But the chemistry between Tucker and Chan reaches a new high, and the sensational setting of “The City of Lights” allows for a whole new slew of racial jokes and political incorrectness. A “Who’s on first?” routine (obviously inspired by Abbott and Costello), a prim nun translating foul language, and George the anti-American French taxi driver are examples of witty additions to the familiarly mischievous comedy showcased in the series. The inclusion of supermodel Noemie Lenoir is terribly expected, and screen legend Max Von Sydow can’t seem to summon life into his predictable role. A showdown on the Eiffel Tower and the amazingly hilarious signature outtakes are other high points, but Kenji’s forced villainy and pathetic character development remind us that Rush Hour 3 is a simple film with un-ambitious goals. While nothing is terribly memorable or awe-inspiring, constant bits of crudeness and slapstick humor make the occasion worthwhile even if you can’t remember enough funny moments to tell your friends.

- Mike Massie

Check out the MoviePulse Interview with director Brett Ratner and star Chris Tucker here!