Nicky Larson et le parfum de Cupidon

If there's one thing about Tsukasa Hojo's original manga that doesn't hold up, it's the schoolboy ecchi humor that grates on anyone old enough to have touched a breast--that is, most fans of the series by now. This held true in 2019's frankly mediocre 'City Hunter: Shinjuku Private Eyes', but this French adaptation gets it right thanks to a brilliant premise, surprisingly competent action, and nonstop goofs sure to land at least few times.

Most of the comedy comes from the plot MacGuffin, a perfume that causes victims to instantly fall in love, which is a perfect excuse for lots of awkward sexual comedy, nudity, and gay jokes. That last part might make some cringe, but it's strangely effective as a foil for Ryo's usual lechery and doesn't feel mean-spirited. Ryo (Lacheau) and Kaori (Fontan) have great chemistry both as a comedy duo and a couple whose relationship feels fresh and less lived-in compared to other adaptations, i.e. playing will-they-won't-they for over thirty years. Side characters Pancho and Skippy feel slightly out of place as supporting cast, but are hapless enough to lighten the mood during slow moments.

Visually, it takes great pains to stick close to its source material. Ryo and Kaori step straight out of the manga rocking 80's fashion and driving their iconic Mini, and Kamel Guenfoud is uncanny as Falcon (though he sadly never fires a bazooka onscreen). The action is also surprisingly competent for its modest budget and goofier tone. Fights use creative set-pieces without rapid cutting or shaky-cam, including a scrapyard scene (shot entirely in first-person) that expertly mixes comedy and fisticuffs to rival Jackie Chan from the 1993 Hong Kong adaptation. The only disappointment are the villains; they're barely characterized and indistinguishable apart from suit color or facial hair. Still, they work as punching bags and bullet receptacles just fine, and they're at least better than the CGI drone robots from 'Shinjuku Private Eyes'.

Yes, it's goofier and less neo-noir than the source material (being based on the toned-down French localization, 'Nicky Larson') and the mild homophobia could be off-putting for general audiences. But it's finally an adaptation that's not ashamed of its comic-book roots and tries its hardest to entertain and service longtime fans of the series.