The fight sequences (choreographed by Raffaelli) are especially creative, with the combatants using any available object, including a priceless Van Gogh painting, to get the job done.
It’s campier than its predecessor, but its gung ho union of black, white, and Asian gangs against reactionaries who’d destroy them is a virtuosic assertion of punky Parisian multiculturalism.
More of the same, only more. Yet here, “more” means a more needlessly convoluted plot, a more cartoonish parade of ethnic stereotypes, and more leaden political metaphor than viewers can digest.
Though it fails to live up to its dynamic predecessor in almost every way, District B13: Ultimatum should still be enough to satisfy the earlier film’s small but faithful core of American fans.