Taken

Ultra-badass Liam Neeson in an action deluge from Luc Besson’s production team. Basically it’s all designed to let the ever wonderful Neeson teach the evil kidnappers a damn good lesson. The six-inch nails stuck into the knee of one of the kidnappers speaks volumes (in fact I remember picking up a nail like that at a building supplies fair and thinking about how much it would hurt if I jabbed somebody in the leg with it...). Pierre Morel’s second name is action and after District 13, this is another success in his rocketing career. (15/10/2008)

The slickness of "Bourne films" and the conciseness of "Seagal films" met under the direction of one of the most talented craftsmen in Besson's film stable, resulting in the type of uncompromising action flick that has been missing from movie theaters for a while. Yet the main driving force is not so much the solid action, but rather the pissed-off Liam Neeson, whose position as a god of vengeance and protector of his daughter's virginity suits him damn fine. He sends the Albanian scum under the ground using clever moves, or the makeshift energy consumer of French power stations, all without the blink of an eye or any particularly robust emotions. With a denser plot and even more emphasis on physical (by that I mean calmer editing) action, I would have given it 5 stars. (19/10/2008)

I can't believe I overlooked such a treasure for 3 years! It's been a few hours since I watched the film, but my excitement hasn't waned. Liam as the unstoppable father absolutely blew away all the heroes I've known up to this point. I finally felt like action was worth something again, and for good reason. The kidnapping itself was an incredible experience. I'm amazed! 5 stars. (04/02/2012)

A Macho version of Not Without My Daughter. This movie reeks of classic tough French guys’ movies “one man against hundreds" with Belmondo or Delon (it reminds me most -maybe too much - of Cop’s Honor). But the reek is a bit stale. The uninteresting prolog (twenty-five minutes) and the epilog chip away at any positive impression you may have had. In reality this is good, but not outstanding; it begins to be so only after it moves to Paris. And there’s far too much talking, when the characters don’t have anything to say. If only they would take action instead. Another negative aspect is Maggie Grace, or rather her role. She is so unlikeable that I am surprised that anybody would think it worth letting loose such hell in the peaceful city on the Seine. But there are positive sides as well. I haven’t counted them, but one is worth mentioning. Liam Neeson. Who would have said that at 56 years old he would turn into such a tough guy. After today’s viewing I know that if there’s one person whose daughter would be inadvisable to kidnap, it’s Liam’s. Everybody else is just a band of brewed tea drinkers. If he had just a little more style, I would have nothing to fault him for. Morel almost too obviously relies on the fact that almost nobody makes movies like this nowadays, and so in the end the viewer forgives him for a lot. (25/07/2008)

A bitter tale about a paranoid dad who kills a couple of ugly Arabs and Albanians on a trip to Paris, so that his princess’s luck doesn't run out and she doesn't end up on the gerontophile stick of a wicked rich man. From a rather illogical and sometimes sentimental spectacle, Morel and Neeson create an incredible adrenaline rush full of brilliant action and rough one-liners. I haven't seen such perfectly edited and frantic action for a long time, and they use almost exclusively very economical choreographies. One then forgets that the story doesn't really make sense at all and is only there as decoration. (06/10/2009)