Featured Audience Ratings

• Anthony L

  
  Lost in Rio is a great follow up to Nest of Spys, with Jean Dujardin giving just as good a performance as he did in the first.Michel Hazanavicius does not tread on old ground and re-use cheap gags like with most sequels (OSS 117 doesn't even do that dance). The 60s look of the… More
  Lost in Rio is a great follow up to Nest of Spys, with Jean Dujardin giving just as good a performance as he did in the first.Michel Hazanavicius does not tread on old ground and re-use cheap gags like with most sequels (OSS 117 doesn't even do that dance). The 60s look of the film adds to the atmosphere ten-fold and it looks gorgeous. It can be a little hit and miss but I think some gags are just lost in translation, most of the time it is hilarious. Jean Dujardin is fast becoming one of my favorite actors.

• Spencer S

  
  This pre-dates the fame of Jean Dujardin in America, but was a breakout role for the comedy actor from France. In the sixties and seventies there were a string of French spy films with a male protagonist named OSS 117, who is now featured in this second film of the new series as a… More
  This pre-dates the fame of Jean Dujardin in America, but was a breakout role for the comedy actor from France. In the sixties and seventies there were a string of French spy films with a male protagonist named OSS 117, who is now featured in this second film of the new series as a complete clod in comparison. In this film, such as Peter Sellers turn as James Bond in Casino Royale, OSS 117 is reworked as slightly bumbling. More so than that he is misogynistic, racist, and playfully arrogant and ignorant. Unlike a low budget parody film this was actually shot in relatively beautiful locations, with actual cinematography and principal photography to boot. It utilizes many forms of split screen, and is a finesse of French cinema, not only as an ode but as an actual spy film. What also sets it apart from the crass American counterparts such as Spy Hard and The Naked Gun, is that this film actually holds more than comedy, but an air of sophistication and restraint. Better than that, while the usual spy parodies have a makeshift cast of people who are truly enthralled by this uncouth person, this film lets the Israeli Mossad romantic lead hold her own amongst the male spies. She outright points out his faults and tells him about them in as mean a way as possible. Dujardin is in his own league here, as he maneuvers between likable and downright repulsive. His scenes are usually full of bandying about words that are intentionally offensive, while also being goofy and lovable in some respects. The villains are unbelievable, the storyline is epic yet ridiculous, and the shots of the film really resonant and bewilder with how amazing they are for the content. Beside that there is actual humor that relates to American sensibilities and somehow mimics the parody films of Leslie Nielsen. The only reason I didn't fully love it is that it doesn't always translate well, and my comedic choices are usually not as suave and as witty as this, so for myself it was a different kind of experience. Still, this is a delight and is worth our attention.

• Ross C

  
  Jean Dujardin is absolutely perfect in the role of the charming, quintessential French spy of the 1960s, OSS 117. Lost in Rio is slightly weaker in wit than its predecessor Cario: Nest of Spies, but I suspect that has much to do with the French-language jokes not translating to… More
  Jean Dujardin is absolutely perfect in the role of the charming, quintessential French spy of the 1960s, OSS 117. Lost in Rio is slightly weaker in wit than its predecessor Cario: Nest of Spies, but I suspect that has much to do with the French-language jokes not translating to English so well.

• Carlos M

  
  The best about this French comedy is the '60s visuals, which are really efficient with the clumsy zooms and split-screens, and this film is a fun spoof on the 007 series and spy movies. The laughs are not plentiful, but the story has many inspired nonsensical moments.

• Tsubaki S

  
  James Bond spoof, well, actually direct spoof of another french movie spy also called OSS 117, but the spirit is the same. It portrays the character just as the Bond archetype is, but without any glamorous touches: a racist, misogynist, a smug idiot with a suit and a gun. Ignorant… More
  James Bond spoof, well, actually direct spoof of another french movie spy also called OSS 117, but the spirit is the same. It portrays the character just as the Bond archetype is, but without any glamorous touches: a racist, misogynist, a smug idiot with a suit and a gun. Ignorant and stupid, only interested in screwing women and looking cool in every possible situation. A bufoon that confuses "personality" with acting like a jerk. But yet, OSS 117 is not a bad man and actually ends up being a rather charming bufoon. Jean Dujardin could not be any more perfect in the main role, the supporting cast is equally great, the jokes are funny, the homage to old spy flicks is spot on, the script is clever. I should kick myself for watching this just until now, can't wait for more films on the series, this being the second.

• Kevin M

  
  Jean Dujardin is as great as he was in the first. It's not as laugh-out-loud hilarious as the first because the humor isn't as surprising. It's sad to see Berenice Bejo leave the cast because she was so charming as the Bond girl because Louise Monot really doesn't… More
  Jean Dujardin is as great as he was in the first. It's not as laugh-out-loud hilarious as the first because the humor isn't as surprising. It's sad to see Berenice Bejo leave the cast because she was so charming as the Bond girl because Louise Monot really doesn't even come close. The laughs are spread out a little more this time around, so it feels well paced. OSS 117 isn't the kind of film you should take seriously because it's very obvious that it was meant to be silly and make fun of the average spy film, which it does very well. Even with its flaws, Lost in Rio is just as fun as the first.

• Walter M

  
  In "OSS 117: Lost in Rio," it is 1967 and Professor Von Zimmel(Rudigler Vogler), a former Nazi, is blackmailing the French government with a list of former collaborators. He wants 50,000 francs to be delivered by the their best agent, Hubert Bonisseur de la Bath(Jean… More
  In "OSS 117: Lost in Rio," it is 1967 and Professor Von Zimmel(Rudigler Vogler), a former Nazi, is blackmailing the French government with a list of former collaborators. He wants 50,000 francs to be delivered by the their best agent, Hubert Bonisseur de la Bath(Jean Dujardin) to Rio de Janeiro. Once there, he is almost killed but his worthless hide is saved by his pal Will Trumendous(Ken Samuels) of the CIA. A meet is set to exchange the money and the list which turns out to be a trap. This time, he is saved by Mossad agents who want Von Zimmel brought to trial. They assign Colonel Dolores Koulechov(Louise Monet) to partner with Hubert. Since this is May, there must be sequels and the humorous, retro "OSS 117: Lost in Rio" will be the first in a long line over the summer. But if you have not seen the first one, let me explain. OSS 117 is lind of like Jack Bauer in that they are both neanderthals who are wanted dead by about a billion Chinese, give or take a few. By the sixties, OSS 117 is increasingly out of date and blithely ignorant while having another chance to explore his latent homosexuality. Ironically, it is the hippies who are in the right. Still, he is not completely useless as he finds a clever way to work his way out of a jam in an elevator. And as far as the movie goes, he did not start the Six Day War but this is also up for debate. A soliloquy from "The Merchant of Venice" and a great sight gag involving a candied apple do prove there is a brain here and the subjects of French collaborators and Nazis in South America are real enough to ground the movie in some kind of reality.(It should be mentioned that "Soap" had the best ever Nazi in South America joke.) However, there is no reason for the movie to rifle through Hitchcock's closet, even if it does provide a couple of exciting set pieces. And it should have given more for Dolores to do than just stand around looking pretty in clothes last seen in Matt Helm movies.

• Mike N

  
  Fun, irreverent, visually pleasing, and often hilarious. It's paced well for a Connery-esque French Bond parody, mixed with wonderful slapstick, humorous awkwardisms galore, and an ode to Hitchcock on the Christ The Redeemer statue in Rio. It went out of its way to feel like a… More
  Fun, irreverent, visually pleasing, and often hilarious. It's paced well for a Connery-esque French Bond parody, mixed with wonderful slapstick, humorous awkwardisms galore, and an ode to Hitchcock on the Christ The Redeemer statue in Rio. It went out of its way to feel like a movie made in the late 60's -- no easy feat, considering how many finer details it nailed -- successfully recreating a world that added a great layer to the funny. It's at times a little too irreverent, but the film pulls you back in with one of Hubert de la Bath's (OSS 117) infectious fits of laughter. As for his frequently near-racist remarks, this was played well by making OSS 117 more a cluelessly ignorant buffoon than anybody genuinely mean-spirited. And the other characters in the movie seemed to recognize that as he casually offended the bloody hell out of them. OSS was redeemable as a legitimate spy beyond all this, though,, as we see moments of clever misdirection, fierce gunplay, and (hilarious) Mexican wrestling prowess that inform the audience that he's not your garden variety dolt. This is a clear contrast to the abysmal MacGruber, which leaned too heavily on its R-rating for obnoxious and character-sacrificing foibles. On the other hand, fortunately, OSS 117 reminds me of its invisible gunfire: even when it's frequently missing, it's hitting.

• meril l

  
  Another fun adventure from the ridiculous OSS 117. I didn't find this film to be as good as "Le Caire: Nid d'espions" but it was still an amusing romp with the expressive Jean Dujardin.

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