Julie Delpy completes her metamorphosis into the French Diane Keaton with “2 Days in New York,” a broad farce that is a funnier and markedly sillier sequel to her “2 Days in Paris.”
Delpy, who gained American fame for her work in Richard Linklater’s “Before Sunrise” and “Before Sunset,” went to school on those films. They inspired her to write, direct and star in these two “2 Days” treatments. Again, we’re treated to a narrow period of time, a relationship to resolve, a lot of funny, sharp banter and, in this case, with a lot of outlandish characters and outrageous situations getting in the way.
Marion (Delpy) has split from her American husband, Jack (played by Adam Goldberg in “Paris”), taken their son, inexplicably named Lulu, and moved to New York. There, the slightly neurotic photographer has taken up with American journalist and talk-show host Mingus (Chris Rock).
Her eccentric father and exhibitionist sister (Albert Delpy and Alexia Landeau, returning from the first film) come to visit just as Marion is preparing for her first big gallery show and Mingus is hoping to land a radio interview with his hero, President Barack Obama.
And the relatives bring along Marion’s flaky ex-beau, Manu, played once again with a manic, maddening cluelessness by Alexandre Nahon. Marion is furious, but she puts on a brave face for Mingus. Not to worry. Manu is just “mildly schizophrenic.” (“What do you mean ‘MILDLY schizophrenic? He only hears NICE voices? He would have killed Ringo, not John?”)
So we jam Marion and Mingus, Marion’s little boy — who only speaks to call Mingus “Fake Daddy” — and Mingus’ little girl, Marion’s sausage smuggling dad and her hits-on-anything-that-moves sister and the always inappropriate Manu into one not-big-enough-apartment. Let the sparks fly ... in English, and in French with English subtitles.
The French folk make all manner of outrageous assumptions about Mingus, a black hipster living in New York. Sure, he loves Obama. But score you some weed? Maybe not.
There are plenty of laugh-out-loud moments provided by the cast, characters and situations. Delpy’s real-life dad is a stitch. None of them think anything about discussing sex or plunging into profanity in front of the kids. Manu’s inviting a dope dealer to the apartment is merely the icing on that lose-child-custody cake.
Delpy riffs with assorted rude New Yorkers and battles, tooth and claw, with her sister. Rock scores a few hits, though some of his improvisations — fanboy chatter with a poster of Obama, his lame radio patter — need work.