While they are inclined not to show their secrets to their children, the couple are forced to reveal the truth to them once they witness their parents fending off Volka's mercenaries and evading the pursuing MI6, before arriving at Ginny's manor.

Chuck – who is not only revealed to be alive, but also working with Gor and Volka as revenge, due to him being fired from the CIA for the presumed deaths of Matt and Emily - abducts Leo and Alice and knocks their parents unconscious.

Using Leo's smart ring, they track Chuck down to a black-tie event in Tate Modern, London, where he plans to sell the ICS Key to the highest bidder.

As a demonstration, his tech assistant Daphne uses the ICS Key to hack the power station to cause a brief blackout across London, then the Thames Barrier to forcibly open its floodgates.

While Baron's agents engage against the Volka operatives the couple, with assistance from Ginny, pursue Chuck, who intends to escape with Leo and Alice from London through the Thames Barrier.

They proceed to dump Leo and Alice out into the water, subdue Chuck, and leave him on the boat as it crashes into the now closing barrier, presumingly killing him.

[2] In August 2022, Foxx spoke about persuading Diaz (whose last film prior to her retirement in 2014 was Annie, which he also starred in) to join the cast, telling Entertainment Tonight that "Cameron is such an incredible force and she has done so much in this business" and that he asked her "'Do you wanna have some fun?

While Gordon and O'Brien were solely credited with the screenplay, various contributions were made by Andrea Berloff, Matteo Borghese, Joel Church-Cooper, Adam Cole-Kelly, Dana Fox, Paul Fruchbom, John Gatins, Joe Nussbaum, Cassie Pappas, Lennon Parham, Sam Pitman, Ellen Shanman, Laura Solon, David Stassen, Jessica St. Clair, Victoria Strouse, and Lillian Yu.

"[17] Richard Roeper of the Chicago Sun-Times gave it two and a half out of four stars, writing, "Director Seth Gordon (Four Christmases, Horrible Bosses) knows how to film fast-moving comedies with star appeal, and Diaz (who hasn't lost an ounce of onscreen charisma) and Foxx are terrific together, but wouldn't it have been lovely if they had tackled more creative and challenging material?

Trading quips while engaging in high-wire action sequences that defy all credibility is the movie equivalent of ordering fast food for breakfast, lunch and dinner when there's a whole world of more interesting menus out there.