'Taken 3' is beyond saving.
In "Taken" (2008), helmed by Pierre Morel, Neeson's Los Angeles-based Bryan Mills went after Albanian slave traders who kidnapped his 17-year-old daughter in Paris. Made as a low-budget B-movie that sent up U.S. politics and values even as it emulated American genre films, it grossed $227 million worldwide. The sequel, made four years later, reversed the pattern by having the Albanians' vengeful relatives kidnap Mills and his ex-wife, Lenore (Famke Janssen). Despite the more elaborate action setpieces and heightened casualties, the premise remained just as basic and clear: The shocking way in which the hostages are taken, and the methodical manner in which the retired CIA agent tracked them, generated tremendous excitement.
Without someone to save, the concept of a race against time is seriously weakened. While family matters were kept short and sweet in the other two installments,
"Taken 3" stretches out the kitchen-sink drama endlessly: Mills' daughter, Kim (Maggie Grace), who was 17 when she was first kidnapped, is now a college student facing adult problems. Her dad, however, still believes that, after having hurled a few hand grenades and driven a stolen car through a shower of bullets, she'd be content to play with a stuffed panda on her birthday.
Equally troubled is Lenore, who seeks consolation as her marriage to filthy-rich Stuart (Dougray Scott) is on the rocks. The possibility of Lenore and Mills rekindling their relationship is put on hold, however, when he's forced to go on the run for a crime he didn't commit. As he said to Lenore in the previous film: "I'll be OK. It's the people following me who're gonna have a problem."
Given that Mills walked away scot-free from double-figure body counts in Europe, watching him evade arrest by Inspector Frank Dotzler (Forest Whitaker) here doesn't yield much in terms of suspense or surprises. Mills describes Dotzler as "very clever," though the latter's theory that anyone who buys warm bagels can't be a cold-blooded killer ranks among the more illogical police deductions in recent memory.
One of the series' talking points has been its extremely negative portrayal of Albanians; "Taken 2" closed on a note suggesting the blood feud would live on, and it would have made sense here for it to continue, or for Mills to finally set foot in the hermit country. Alas, those characters have been ditched in favor of Russian mafiosos, who come across as pale imitations of the tattooed fiends in David Cronenberg's "Eastern Promises."
What has made the "Taken" franchise such a guilty pleasure is its take-no-prisoners stance toward bad guys and its no-holds-barred brutality, especially coming from Neeson, an actor who radiates gravitas and nobility. Although less graphic in its representation of violence than its predecessors, "Taken 3" retains a gutsy realism in scenes where Mills cracks bones and splatters brains, and the shoot-'em-ups, car wrecks and explosions are noisier and more bombastic. They're also unimaginatively choreographed, with no forward momentum. Even as the scale of each production has increased, the scope of the action has diminished: Compared with scattering hand grenades all over Istanbul, it's child's play for Mills to blow up a classroom at Kim's college.
Without a doubt, the first "Taken" movie gave Neeson, then in his 50s, a new lease on life as an action hero. Now 62, the actor still has an imposing presence, but more often than not, he looks pretty beat, and impatient to get things over with. Meanwhile, Kim, over two films, has evolved from an exasperatingly clueless brat to a feisty rescuer, but there isn't any real progression in character development or in Grace's performance here.
Stuart, a slimy wimp as played by Xander Berkeley in the first "Taken," served as a neat foil for our straight-talking, straight-shooting hero. Replaced here by Scott, he behaves like a badass dude who is supposed to be Mills' equal in gun-toting prowess; it's a wholly unconvincing transformation. As Russian mafioso Malankov, Sam Spruell is like a cardboard James Bond villain, showing some vicious individuality only in the action scenes.
Tech credits are serviceable if creatively impoverished. The L.A. locations recall countless images of the city caught onscreen, with lenser Eric Kress frequently using panoramic and helicopter shots of the Downtown skyline as visual crutches. Nathaniel Mechaly's ubiquitous score borders on schmaltzy.
Director: Olivier Megaton
Starring: Liam Neeson, Maggie Grace, Famke Janssen
CREDITS: (U.S.-FRANCE) A 20th Century Fox (IN u.S.) release, presented with Europacorp, of a Europacorp, Canal Plus, M6 Films production, in association with TSG Entertainment. PRODUCED BY Luc Besson.
DIRECTED BY Olivier Megaton, screenplay, Luc Besson, Robert Mark Kamen. camera (COLOR, WIDESCREEN, HD), Eric Kress; editors, Audrey Simonaud, Nicolas Trembasiewicz; music, Nathaniel Mechaly; PRODUCTION DESIGNER, Sebastian Inizan; art DIRECTORS, Nanci Roberts; SET DECORATOR, Linda Spheeris; COSTUME DESIGNER, Olivier Beriot; SOUND (DOLBY DIGITAL), Stephanie Bucher, Frederic Dubois; RE-RECORDING MIXER, Bucher; SPECIAL EFFECTS SUPERVISOR, Philippe Hubin; SPECIAL EFFECTS, Big Bang; VISUAL EFFECTS SUPERVISORS, Simon Descamps, Paul Briault; VISUAL EFFECTS, Digital Factory, MacGuff, Exlair, Fotokem; STUNT COORDINATOR, Mark Vanselow; fight CHOREOGRAPHER, Alain Figlarz; LINE PRODUCER, Michael Mandaville; ASSISTANT DIRECTORS, Trent Dempsey, Ludovic Bernard; casting, John Papsidera. REVIEWED at AMC Pacific Place, Hong Kong, Dec. 31, 2014. RUNNING TIME: 118 MIN. CAST Liam Neeson, Maggie Grace, Famke Janssen, Forest Whitaker, Dougray Scott, Sam Spruell, Leland Orser, Jon Gries, Al Sapienza
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|Article Type:||Movie review|
|Date:||Jan 14, 2015|
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