Sonic Cinema

Sounds, Visions and Insights by Brian Skutle

Taken

Grade : B Year : 2009 Director : Pierre Morel Running Time : 1hr 33min Genre : ,
Movie review score
B

Does anyone else remember when Luc Besson actually directed films instead of writing them? Yes, there was a time. True, recently we’ve seen intriguing- if not really successful- directorial efforts like “Angel-A” and “Arthur and the Invisibles” from him, but I’m thinking more about his ’90s films like “The Professional,” “La Femme Nikita,” and “The Fifth Element.” Just based on those three alone, he was a pretty interesting director once. Now, he’s a lot like the Judd Apatow of action, writing scripts with partner Robert Mark Kamen as a way of giving other filmmakers and actors a chance to work in some action nonsense and spread their wings. There’s nothing wrong with that- “Transporter 2” director Louis Leterrier went on to direct “The Incredible Hulk”- but look back at “The Professional” to see the distinct touch he brought to that unique story. Isn’t that the type of clarity missing from “The Transporter” films? “Unleashed” was a better example, with Jet Li’s athleticism and Morgan Freeman’s professionalism covering up a lot of the script’s shortcomings, but still, one longs for Besson’s clear-eyed touch to action.

It’s almost there in “Taken,” directed by “District 13” director and “Unleashed” and “Transporter” cinematographer Pierre Morel with a sharp eye for action and suspense, and enough sense to let Liam Neeson carry the rest of the film on his shoulders. Yes, Liam Neeson. Oscar Schindler, Rob Roy, Michael Collins, Qui-Gon Jinn. Here, he plays Bryan Mills, a divorced father whose ex-wife (Famke Janssen) has him on a very short leash with seeing their daughter Kim (Maggie Grace), even when he’s sacrificed his livelihood and his career- as a former government stronghand- to try and repair things with Kim.

Well, easier said than done. A security job with his friends gives him an opening. But Kim’s friend Amanda has given her a chance to go to Paris for the summer. Reluctantly, Bryan agrees, with a few conditions. Well, no sooner are the girls in Paris than they meet up with a local named Peter, who seems like a nice guy, but this being a movie, we kind of know better. While on the phone with Kim, some men break into the apartment they’re staying at, and assault Amanda. Kim’s watching the whole thing from across the way, while her father’s instructing her on what to do. The catch is, she has to get taken. He’s gonna use his training to get her back, and find the people responsible.

Like Ron Howard’s “Ransom,” there’s more to this kidnapping than meets the eye, although this film is more focused in on Mills’ single-minded pursuit than it is on Kim’s plight. That doesn’t make it any less intriguing. Besson and Kamen give the film to Neeson and Morel, and they bring it home by delivering some strong- if sometimes chaotically-shot- action sequences at the surface and a glimpse and the sometimes ambiguous places parents will go for their children. Neeson is a stoic but determined man who knows what he’s capable of. He plays this man of action like a force of nature. He can’t hide all of the film’s shortcomings, and Besson and Kamen are too sentimental for anything less than a happy ending, but the Oscar-nominated actor (whose prestige doesn’t always get in the way of fun in films like “Gun Shy,” “Love Actually,” and “Darkman”) gives this film more credibility than it perhaps deserves. Still, a good senseless entertainment is never a bad thing…especially this time of year when Hollywood tends to bring out its’ least honorable mentions.

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