French filmmaker Axelle Abbadie Larriu created “30 Jours Max” as a funny comedy about Rayane a bumbling police officer who discovers he has thirty days left to survive. After learning about his short prognosis he dedicates himself to bringing glory to his law enforcement institution. Through its combination of comedic lightness with touching scenes and dramatic action sequences it occasionally regurgitates familiar storyline conventions.
Commando follows Rayane’s descent into respectlessness until his medical evaluation reveals thirty days to live due to which he takes his diagnosis as fuel for personal development. The film character presents a charm that connects viewers because he embodies the popular cinematic archetype of the “lovable loser.” Several main characters fall short of developing adequate depth. The director handles the film with positive energy yet chooses to abstain from characteristic film making methods. The camera work delivers competent results but disappoints with it unoriginal nature and the score provides the comedic high points.
Editors retained a fast-paced tempo across the narrative while certain transition moments could have been more natural. Although the dialogue brings laughter it sometimes rings artificial. In its narrative “30 Jours Max” explores mortality alongside redemption while urging viewers to investigate their life goals. Although it doesn’t introduce new ideas the movie offers entertaining and moving sequences which creates a pleasant combination for viewers.
