The film opens as we meet Bryan Mills (Liam Neeson) who recently retired from his super-spy government job and now occasionally moonlights as security detail for various events, the most recent of which finds him in charge of a threatened pop diva (Holly Valance). A bit melancholy but not yet ready to dedicate himself to building birdhouses for the rest of his life, he's just plodding through the days pondering what could have been. Seems his devotion to a career that found him kicking butt all over the globe not only cost him his wife (Famke Janssen), but also robbed him of a relationship with his teen-aged daughter Kim (Maggie Grace), for which he hopes to atone by reentering her life.
The worst fears of a father who has seen the world's dangers first hand come true when Kim and her friend Amanda (Katie Cassidy) are almost immediately kidnapped from their hotel room upon arriving in Paris. Knowing the police will offer very little hope for finding the missing girls, Mills jumps into action mode and learns that an Albanian prostitution ring is at the center of the tragedy. He also learns that 3 or 4 days is about all the time he has before they're gone forever.
Things get real fun for the audience when Neeson quickly morphs from sappy father to no-nonsense killing machine. His self-touted list of worldly skills get put to good use when he coolly and calmly tells the kidnappers, via Kim's stolen cell phone, â"I will look for you, I will find you. And I will kill you." Despite his cuddly father-figure looks and almost sheepish demeanor, we believe him. But apparently the Albanians don't.
Where the film excels is in how Neeson seamlessly handles both ends of the action hero spectrum needed here. It's important that we're drawn into his character by the gravity and complexity he lends to the role. We must understand what drives him and care about his plight. But on the other hand, he must also convincingly deliver on the martial arts sequences. Director Pierre Morel (District B13), working with a script from co-writers Luc Besson and Mark Kamen, demanded extensive rehearsal sessions to bring maximum impact to the combat and action set pieces. It works... and we're convinced.
Once the action movies to France, the film's frenetic pace keeps us from thinking too much about what's believable and what isn't. Language barriers only become an issue when important to getting out of a corner, and the baddies must be using bulletless machine guns. But Taken is a great ride for action junkies and those who like to see the enemy get the raw end of a deal. It would have been nice to see what the filmmakers could have done with an R rating, but even so, for a PG-13 feature, brutal savagery and guiltless violence are on high display, even though blood, guts, gore and sex aren't.
Screen Formats: 2.40:1
Subtitles: English; French; Spanish; Closed Captioned.
Language and Sound: Dolby Digital w/ sub-woofer channel; Dolby Surround (4.0)
Other Features: Color; interactive menus; scene access.
Commentary - Feature-length commentary track with Pierre Morel and cinematographers Michel Abramowicz and Michel Julienne. Commentary is done in French with English subtitles.
- Le Making of Featurette
- Inside Action Side by Side comparisons
- Avant Premiere
Previews - Trailer for Notorious
Number of Discs: 2 (digital copy) with Keepcase Packaging
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