This review critiques the French dramedy “En sommar utöver det vanliga” (original title: “Un p’tit truc en plus”), directed by and starring Artus. The film, which centers around a jewel thief who finds himself on a road trip with a group of intellectually disabled individuals, receives a rating of 2 out of 5. Gezelius highlights the film’s attempt to portray Down syndrome as a ”little extra” that can be an asset rather than a deficit, a premise she appreciates. However, she finds the film ultimately falls short of its well-intentioned concept, becoming another predictable entry in the ”heartwarming comedy” genre.
The reviewer criticizes the film’s adherence to a tired trope: a gruff man discovering ”other values in life” through unexpected encounters. She points to the inherent cynicism in such narratives, suggesting that the true motivation behind these films is often financial gain rather than genuine empathy. The ”different” individuals, in this case, those with intellectual disabilities, serve as plot devices to facilitate the protagonist’s personal growth, rather than being presented as fully realized characters. Their presence, Gezelius argues, feels exploitative, reducing them to props in a narrative that ultimately revolves around the ”normal” protagonist’s journey.
Despite acknowledging the strong performances of the amateur actors with intellectual disabilities, who thankfully constitute the majority of the cast, Gezelius finds the overall execution lacking. She particularly criticizes Artus’s bland performance in the leading role, suggesting that his presence undermines the film’s potential. The predictable plot, coupled with a lack of genuine humor beyond the inherent situational comedy, further contributes to the film’s mediocrity. The reviewer finds the film’s reliance on formulaic storytelling and unearned sentimentality disappointing.
Gezelius admits that her reaction to the film is somewhat mitigated by the current political climate. In the aftermath of a significant political shift (implied to be the 2020 US presidential election), the film’s message of even lukewarm goodwill feels somewhat precious. She concedes that in a time where humanistic values feel threatened, even a flawed attempt at promoting empathy can feel valuable. This contextual factor tempers her criticism, acknowledging a need for any form of positivity, symbolized by the film’s use of playdough as a therapeutic tool.
While acknowledging the film’s shortcomings, the review highlights the commendable performances of the amateur actors with disabilities. Their authentic presence offers a glimmer of hope amidst the otherwise predictable narrative. Gezelius acknowledges that their inclusion in the majority of the film offers a degree of balance. However, this positive aspect is ultimately overshadowed by the film’s overall adherence to genre conventions and the lackluster performance of the lead actor.
The review concludes with a subdued recommendation to “see more,” listing three other French-language films currently playing in theaters. This almost perfunctory suggestion further underscores the reviewer’s lukewarm reception of the film. While not entirely dismissive, Gezelius’s critique ultimately positions ”En sommar utöver det vanliga” as a missed opportunity, a film with good intentions that fails to fully realize its potential due to predictable plotting, bland performances, and the lingering suspicion of exploitative sentimentality. The film’s timing in relation to a significant political event, however, softens the criticism somewhat, suggesting that even flawed attempts at promoting human connection can hold a certain value in challenging times.
