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Rush Hour 3 Review Critics


Dave White Profile

… dopey slapstick gags … Read full review

Other Critics provided by

Critics scores range from 0 to 100, with higher scores indicating more favorable reviews.

  • 3.0

    out of 100

    Mixed or average reviews
    based on a weighted average of all
    critic review scores.

  • 50

    out of 100

    USA Today Claudia Puig

    Feels as desperate and static as being trapped in a traffic jam.

    Read Full Review

  • 50

    out of 100

    Chicago Sun-Times Roger Ebert

    Once you realize it's only going to be so good, you settle back and enjoy that modest degree of goodness, which is at least not badness, and besides, if you're watching Rush Hour 3, you obviously didn't have anything better to do, anyway.

    Read Full Review

  • 50

    out of 100

    Wall Street Journal

    Jackie Chan and Chris Tucker have been through a lot together. To be exact, "Rush Hour" "Rush Hour 2" and now Rush Hour 3. Are they tired? Perhaps not, but their antics and action sequences certainly are.

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  • 50

    out of 100

    The Hollywood Reporter Michael Rechtshaffen

    In its third time out of the gate, Rush Hour 3, reuniting Chris Tucker and Jackie Chan, hits the ground stalling.

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  • 58

    out of 100

    Entertainment Weekly Owen Gleiberman

    It's a jerry-built kick-ass insult machine assembled entirely out of secondhand parts.

    Read Full Review

  • See all Rush Hour 3 reviews at

For Families provided by Common Sense Media

Iffy for 13+

Just like the first two, but in Paris.

What Parents Need to Know

Parents need to know that this third installment in the Rush Hour franchise is a lot like the first two. It's got lots of extremely boisterous comic violence, with a mix of martial arts, slapstick, and shoot-'em-up aesthetics that sometimes leads to bloodied faces and painfully twisted bodies. Motor-mouthed co-star Chris Tucker's brand of verbal comedy includes plenty of sexual references and dicey language that seems designed to get around the PG-13 rating (for example: referring to, but not saying, the "N" word and cutting off "motherf--" before it's finished). A French detective conducts anal probes of Carter and Lee when they arrive in Paris (off-screen), leaving them in some visible pain. Supporting characters smoke cigarettes and drink, and a brief, unconsummated sex scene shows Carter in bed (naked chest) with a woman in her bra and panties. Frequent language includes variations on "s--t," "damn," and "ass."

  • Families can talk about Lee and Carter's loyal, cross-cultural friendship. Why is so much of the movie's humor based on differences in characters' cultures and backgrounds? Is Carter's ignorance really funny, or do the jokes seem forced? Why? How does this movie compare to the first two? Does the series' "formula" still work? What changes would you make if you were the director? Families can also discuss how the film represents women -- what roles do Soo Yung, Genevieve, and Jasmine fill?

The good stuff
  • message true0

    Messages: Carter's comic shtick is relentlessly offensive; the film makes fun of both French characters and anti-French rhetoric; Chinese Triads (gangs) are endlessly brutal, cops are inept, Lee is noble. Cultural differences are repeatedly used as the basis of jokes.

What to watch for
  • violence false3

    Violence: Repeated fights involving Lee, Carter, and Kenji (as well as Triad thugs in suits) feature hard-hitting, imaginative stunts, as well as shooting. Ambassador is shot at the film's start (body down and bloody chest), which leads to chaos and an urban chase scene with lots of falling, jumping, fighting, and some gunfire. Shootouts (in streets, hospital, nightclub) feature shattered glass, bodies flying and colliding, and bloody faces (a couple of villains fall dead). Carter threatens several others with his gun. A car explodes. George extols the thrills of "being an American" -- that is, committing senseless violence. Soo Yung is tied up and dangled from the Eiffel Tower; an extended fight sequence "on" the Eiffel Tower (courtesy of special effects) shows frequent near-falls and falls.

  • sex false3

    Sex: Carter makes frequent sexual references; in one scene, he grabs his crotch. Close-up shots of women's bottoms and cleavage. French detective puts on rubber glove for anal probe (afterwards, Carter and Lee walk uncomfortably). Genevieve wears lots of revealing costumes. Jasmine's fight with Lee sounds like rowdy sex to Carter, who encourages his friend to "Tear that ass up!" While pretending to be a costume designer, Carter orders dancers to strip to their thongs (nakedness implied, no nipples shown). Carter describes his desire for sex with Genevieve crudely ("butter you like a slice of Wonder Bread") and in one scene gets into bed with her (his bare chest visible; she's in lingerie; he says, "My nipples are sensitive").

  • language false3

    Language: Variations on "s--t," "damn," "hell," and "ass," plus several insinuations of "f--k" (with "mother-"), but it's not said outright. A nun translating a French interrogation scene says the villain uses the "N" word several times, as well as the "H" word and the "W" word (both refer to "whore"), and "the word that rhymes with 'faggot.'" Carter says "hairy stinking balls."

  • consumerism false3

    Consumerism: Genevieve is a model (her image appears on billboards). References to Ex-Lax, Poco Loco restaurants, Wonder Bread, Red Bull.

  • drugsalcoholtobacco false3

    Drinking, drugs and smoking: George smokes cigarettes. Bar scenes show customers smoking and drinking liquor.