New Movie 'From Paris With Love '

From Paris With Love is a volatile hybrid, half Hong Kong action flick, half American spy thriller, fused together in the Dr. Moreau-like laboratory of French filmmakers Luc Besson (The Fifth Element) and Pierre Morel (Taken). As a result of the violent process, some parts emerge oddly distorted: Bruce Willis becomes John Travolta, Matt Damon becomes Jonathan Rhys Meyers, believability becomes an afterthought, and plotting becomes irrelevant.

Made up like Ming the Merciless and channeling the hep-cat spirit of Vincent Vega, Travolta stars as CIA Agent Charlie Wax, a brusque, trigger-happy bundle of Yankee hubris summoned to Paris to prevent a potential terrorist plot on a U.N. peace conference. Rhys Meyers plays James Reese, an uptight entry-level operative tasked with ferrying Wax around the city to gather the intelligence needed to thwart the conspiracy.

Predictably, the two agents quickly settle into the standard buddy cop relationship: Button-down rookie Reese is appalled by coke-snorting, hooker-banging Wax’s unorthodox tactics, which usually land them in the middle of one huge, stunningly choreographed shootout or another; Wax, in turn, belittles his young sidekick’s naivety and stubborn adherence to protocol.

At times Travolta’s action-hero routine borders on embarrassing —

like watching your grandmother try to rap — but his exaggerated bravado is not entirely without its charms. He’s by far the most enjoyable part of the movie, skipping merrily through the bullet-strewn Parisian underground, spewing politically incorrect aphorisms in between explosions, reveling in his role as the obnoxious American. Virtually every line he delivers earns laughs — and often on purpose.

If only he had a more capable sparring partner than Rhys Meyers, whose range, From Paris With Love sadly reveals, extends little beyond his petulant, amorous act as young Henry VIII in Showtime’s The Tudors. As much as Travolta enlivens the action, the unutterably bland Rhys Meyers deflates it — and he gets the lion’s share of the screen time, unfortunately.

Director Morel, who cut his teeth as a cinematographer on such kinetic action fare as The Transporter, does some virtuoso work with the camera, incorporating everyday locales into his exquisitely frenzied set pieces. Dinner at a nondescript Chinese restaurant ends in a massive gunfight; an intimate dinner party launches an extended chase; a routine brothel visit gives way to ... another massive gunfight.