After racking up a daunting body count in both France ("Taken") and Turkey ("Taken 2"), the damaging Mills family (which actually should consider going into the witness protection program, not just for their very own safety and security, but also for ours) turn their sights on the sunny highways of their house town, L.a, in "Taken 3". Starting with the uncreative (and, as it takes place, wrong) title, "Taken 3," routed by Oliver Megaton, is both careless and enormously overwrought. Secured, as constantly, by a sincere efficiency by Liam Neeson, in addition to the added gravitas offered by Woodland Whitaker as the police officer monitoring Neeson down, the film pulses with indifference. "Taken" and "Taken 2" were preposterous, but entertaining: care had been provided the plot as well as the filming so that they worked as thrillers.
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Many didn't take care of the sequel, however I liked it a lot, especially the cinematic use of the architecture in Istanbul, which showed a real understanding for how action happening in a quite specific landscape can be exciting and suspenseful. "Taken 3" doesn't want to put in the time to set things up carefully or clearly, to make sure that while you can perceive that you are on the highway bent on Malibu, or careening along the 405, the film doesn't use the specific landscape or architecture to help tell its story. It's simply a frantic, flash-cutting craze. Also the slower, more intimate family scenes feature so many swooping-up-from-below tries therefore numerous abrupt inserts that minutes (psychological or bodily) are never provided a chance to land.
"Taken" and "Taken 2" were kidnapping dramas, featuring first the abduction of a little girl, then an ex-wife, by villainous international criminals. "Taken 3" also has worldwide criminals, but alters the formula, as well as from below on around will be looters. Bryan Mills (Liam Neeson) lives in L.a, playing golf with his Special Ops buddies, and providing support to his ex-wife Lenore (Famke Janssen), who is dissatisfied in her marriage to sweaty Stuart (Dougray Scott) as well as reaches out to Bryan for comfort and also bagels as well as possibly something more. Their child Kim (Maggie Poise) is in college now, and Bryan still considers her as an infant (even though her professional stunt-driver skills in "Taken 2" should have clued him in that she is a highly capable human, not to mention her ability to encounter the tilting roofs of Istanbul, lobbing grenades at innocent parking lots in order to signal her location). But then Lenore turns up dead, as well as Bryan is wrongly implicated of her murder. Rather than remaining around to guard himself against the costs, he vanishes into L.a, a fugitive on the run.
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Taken 3 Official Trailer
Taken 3 IMDB Rating
Because Bryan is the most resourceful man in the world (he makes MacGyver resemble a loafer), his is not the determined everyman-on-the-run plight of Richard Kimble of "The Fugitive". Oh no, Bryan hacks into safety and security cameras, downloads GPS details from stolen automobiles, has access to first-rate weaponry in addition to the support of his super-spy close friends. Cop Franck Dotzler (Whitaker) seeks Bryan, always one step behind, irritated, yet also somewhat amused at the ingenuity of his opponent. Dotzler alerts his cops to not ignore Mills; he's a ghost, a phantom, a mastermind! Bryan is identified to run his own investigation and anyone who enters his means has to be demolished. That consists of a poor hospital security guard, the pupils at Kim's college and also the rent-a-cop worked with to drive Bryan back to the station.
Granted, nobody delights in the "Taken" films since they are based in reality, however "Taken 3" presses that envelope up until now that the total effect is numbing. Bryan is so unbreakable that he survives a car crash that nobody could make it through (with nary a scratch on him), and has the ability to dodge the bullets of an automatic weapon shooting at him from only three feet away.
The variety of cuts each scene is astronomical, making sure that the audience never ever obtains a chance to orient itself in the environment, or, for that matter, care about what is happening. Liam Neeson is impressive physically, but the fight scenes are filmed with numerous cuts that the action itself is never clear. In one car chase scene, entailing multiple police vehicle, an 18-wheeler, and the various commuters on the road, a car commandeered by Mills ends up driving the wrong way down a crowded freeway. At least I think that's what I was viewing. The coked-up editing makes it impossible to inform, and it made me yearn, longingly, for the classic automobile chase scene in "To Live and Die in L.A.," also involving a car barreling the upside-down down a highway. That visceral, gripping scene in "To Live and Pass away in L.A." was shot so particularly that the audience never ever loses its orientation precede. Efficient car chase scenes entail care in the execution: it's not enough to show a car flipping over in slo-mo, surrounding it with 100 quick edits designed to disorient. Ironically, that approach winds up making it look like the movie is trying too hard.
The best moments in "Taken 3", strangely enough, are the repeated swooping aerial shots that relocate the predictable plot onward. For a moment, just a moment, the camera stays on one point (the freeway, the downtown skyscrapers, a boat dock on the coastline, the canal) ... and, for that moment, the film is gracious enough to supply us regarding visual perspective, to allow us understand where we are in area. Sadly, those aerial shots also give us time to think thoughts like, "Possibly I should pop in 'The Fugitive' or 'To Live and Pass away in L.A.' Those flicks did it better.".
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