“Taken”: the World’s Slowest Action-Adventure Flick

Tuesday, February 17th, 2009

taken

Despite Taken’s (2009) action-packed, hyped-up trailer featuring an angry, vengeful father who is on a fast-moving, butt-kicking warpath to find his daughter who is taken, this action flick actually begins at an agonizing snail’s pace. Not surprisingly, the most exciting moment of the film was actually experienced in the beginning of the flick—making viewers wait impatiently for the action to commence.

For an action flick, Taken begins slowly by showing father and ex-CIA operative, Bryan Mills, (Liam Neeson) reminiscing about his daughter’s childhood. The audience is led through a series of uneventful scenes that depict a somewhat pathetic Mills trying to make-up for lost times and rebuild his relationship with his daughter, Kim (Maggie Grace). He has even given up his career, which kept him away from his family, and moved to be closer to his precious Kimmie. Although it appears as though no love is lost between Mills and his daughter due to his absent years, he struggles with playing second fiddle to his ex-wife’s new husband and new money.

And just as the movie starts more closely resembling a drama, the foreshadowing begins as Mills is characterized as an overprotective and paranoid father who is extremely concerned about his 17-year-old daughter traveling abroad without parental supervision. Kimmie tells her father, “Mom said your job made you paranoid.” To which Mills blandly responds, “I was a “preventer” of bad things from happening.”

The pace (finally) begins to quicken as the viewer waits wearily for the daughter to be “taken.” Although the kidnapping was not a surprise, Mills’ timing and sideline involvement added an interesting flip on the standard abduction scene. It is only after poor Kimmie is captured that the viewer gets what they’ve been waiting for–the angry, taking-no-prisoners Mills who not only vows to get his daughter back but threatens her kidnappers. In the most memorable line of the movie, Mills says, “I don’t know who you are but if you don’t let my daughter go, I will find you and I will kill you.”

The rest of the movie unfolds at a slightly faster pace as Mills begins his strategic rampage to get his daughter back within a key 96-hour timeframe. In true ex-government operative style, Mills swiftly unravels several clues from the beginning of the kidnapping. He cleverly re-traces steps, obtains CSI (Crime Scene Investigation) level evidence and produces the best translation ever of barely audible words recorded digitally.

And although a bit unbelievable, Mills enlists minimal help to track down his daughter’s kidnappers. He calls a friend or two from his ex-CIA days to provide background information on the country of the abductors, which end up providing more harm than good.

Liam Neeson is at his most believable as an adoring father. In several action scenes, he single-handedly takes out seven and eight men by himself, which seems a bit unlikely for a 50 to 60 year old man, even one who is an ex-CIA agent. It’s like casting Jason Bourne of The Bourne Identity with a graying, middle-aged Matt Damon. It just doesn’t work.

Taken does provide some small plot twists and turns, but not enough for the viewer to forget what the next step in the story was going to be. The movie is predictable, but thankfully not embarrassingly so.

And Taken, like all good action and adventure flicks, has the foreseeable, fairy-tale ending in which the girl is rescued and brought to safety before any real harm is done. And any retribution or repayment of the harm and violence caused in the process is all but forgotten. Despite killing over 20 people, torturing others, stealing cars, destroying several homes and buildings, Mills manages to keep the audience rooting for him – after all he is the good guy.

In one of the major fight scenes between Mills and a leader of the kidnapping ring, the point of the movie is given. While pleading for his life, the bad guy says, “Please understand, it was all business. It wasn’t personal.”

Mills says blankly: “Well, it was all personal for me,” and then shoots and kills the guy.

Before his daughter’s abduction, killing and fighting bad guys was just his job. However, the kidnapping of his pride and joy made Mills life worth living as he risks it to save his daughter—because well after all, it is personal.

TV Beat: Welcome to the Dollhouse

Tuesday, February 17th, 2009

dollhouse

Another ass-kicking heroine explores what it means to be human: Dollhouse (FOX, Fri., 9/8c) joins Terminator: The Sarah Connor Chronicles (FOX, Fri., 8/7c) and Battlestar Galactica (SCIFI, Fri., 10/9c) in a familiar quadrant of the science fiction universe. Dollhouse’s automatons are physically human, not machines, but, judged by this week’s pilot, that twist might be about all the show offers.

Created by Buffy the Vampire Slayer’s Joss Whedon and starring Buffy’s troubled slayer, Eliza Dushku, Dollhouse should have a built-in cult fan base. Its premise lives up to its pedigree; its execution—so far—does not. A shadowy, illegal organization maintains a stable of men and women (mostly women, all beautiful) whose minds have been made blank via fancy computer programming and who the company can “imprint” with various personae to hire out as prostitutes, killers, chefs, whatever wealthy clients require. But one doll, Echo (Dushku), isn’t entirely forgetting her memories between jobs. Cue meditations on personality, individuality and memory, and the reprise of the classic humanity vs. technology and mind vs. matter dialectics.

Flinty ex-cop Boyd Langton (Harry Lennix) is trying to convince himself that the Dollhouse might sometimes help its clients, or at least not get them killed, and indignant maverick FBI agent Paul Ballard (Tahmoh Penikett) is investigating the organization without support from his supervisors; insert a Wire-y look at government’s failures and the inherent flaws of institutions here.

So far Dollhouse has only hinted at those sweeping themes—and so far it’s been clumsy about it. It’s a portentous slog broken up by gratuitous action scenes and layered with oblique lines that beg to be taken as weighty epigrams. Maybe that’s just first-episode awkwardness and the show will live up to its lead-in, the underrated Terminator: The Sarah Connor Chronicles.

Now resuming its second season, Sarah Connor forsakes the movie franchise’s Arnoldian bulk and bumble to pick up where Blade Runner left off: the machines are nearly human. Of course, here the machines have grown into rebel robots who rule an apocalyptic future and visit our era to track and kill mankind’s savior, high school student John Connor (Thomas Dekker). But as that plays out, we get to watch a guardian girl-robot (Summer Glau) seem to develop emotions and a conscience and early robo-prototypes ascend the binary ladder to sentience. The martially maternal title character (Lena Headey, reprising Linda Hamilton’s role) keeps chaos at bay, or did until this week’s mid-season restart.

Throughout the series, Sarah Connor has rose ably to the role of the promised child’s mother and protector; now, she’s reduced to needing the encouragement of imaginary conversations with her son’s dead father-from-the-future—a crutch made all the more pathetic by the woeful casting of pretty but unimposing Jonathan Jackson. Hopefully the rest of the season will return Connor to her old toughness, and iron its convoluted who-built-the-robots and who-can-we-trust plotlines into something that will garner enough viewers to keep the show on the air.

If not, there’s still the critically-acclaimed Battlestar Galactica, which resumed its writers’ strike-interrupted fourth season last month. Sentient robo-slaves called Cylons revolted against their human masters, in, yes, an apocalyptic war. The handful of humans who remain find their mythic Earth —and deal with Cylons who masquerade as human, Cylons who don’t know they’re Cylons, and Cylon-human hybrids. With an assortment of strong female leads—the 1978 series’ Boomer and Starbuck have been recast as women—the show has touched on genocide, religious fanaticism, terrorism, and unjust war. Pity it keeps forgetting what it means that a slave revolt started it all.