What’s the best way to cut down on stunt costs for an action film? Find some guys who can jump from building to building without the use of a rope.

There are a few of them in “District 13: Ultimatum,” the sequel to 2004’s “District 13,” which popularized the dangerous physical discipline known as parkour, which makes the film a memorable thrill ride.

But those aerial acrobatics are just the backdrop in this film, about a gang-ridden Paris neighborhood where drug sales and shootings are commonplace.

Yet the ones who live such lives say they are content with it because they thrive on the strength of family and trust within their own gangs.

That all changes one day when a high-ranking government official (Daniel Duval) masterminds a deceitful plot to evacuate and blow up District 13 in order to make way for a huge development project.

He frames some gang members to make it look like they shot and killed three police officers, an attempt to spark a civil war.

Of course, the only piece of evidence that blows the whistle on the ploy falls into the hands of the film’s two protagonists: police officer Damien Tomaso (Cyril Raffaelli) and street thug Leito (David Belle, the originator of parkour).

The pair take it upon themselves to go up against the government and spend a majority of their screen time plowing through foot soldier after foot soldier.

It could be mind numbing to some, but fortunately, both Raffaelli and Belle are experienced stuntmen, reducing the need for clever camera work.

Every swing and kick is raw, and it’s easy to tell that neither Raffaelli or Belle had reservations of pushing themselves to the limit.

Even more believable are the scenes where Belle works his magic, leaping effortlessly from a roof to the ground and back to a rooftop.

The mastery of his craft make for some really enthralling chase scenes. Think of “District 13: Ultimatum” as “The Fast and the Furious” on foot.

However, other traditional traits of action films are also exemplified here, and not the good ones.

The script has very little color, as effort only seems to have been put in creating smart-aleck responses — and that doesn’t help when your two stars are not the best actors.

Raffaelli could pass himself off as the French Jason Statham, but he lacks Statham’s trademark aura which silently tells every foe, “Don’t even look at me or you’re dead.”

So the action is the main draw here, not because it’s over the top, but because one can easily tell how much work was put into shooting sequences with minimal safety precautions.

In the end it may be over the top, but Belle and Raffaelli make it incredible satisfying.

This is the kind of stuff even the old Jackie Chan would have had second thoughts about.