Taken 3
A cinematic evocation of the phrase, “same shit, different day.”
Really, that’s all that needs to be said about this third entry in the kidnapping and revenge thriller franchise from writers Luc Besson and Robert Mark Kamen. After the first one became a surprise January hit in 2009, a franchise was born. However, given that the first one involves Bryan Mills’s daughter being kidnapped, the idea of multiple sequels makes the initial premise border on the absurd. Who’s going to get taken in the fourth film? His dog? His third cousin, twice removed? Actually, the end of this movie has you covered in that department. You’ve been warned.
Seeing this film six months after Besson’s “Lucy” makes me feel even more frustrated by his decision to step away from the director’s chair, and turn to a writer/producer/action mentor sort. There’s a particular lunacy to his directing style that makes the insanity sublime to watch, at it’s best (as it was with “Lucy” and “Leon the Professional” and “La Femme Nikita”). The directors he hires for the likes of “Taken” and “The Transporter” and “Unleashed” try to duplicate what Besson brings to the table, but it’s singular to him. The results can be fun, but are ultimately unsatisfying. The first “Taken” was an exception; the third one is the rule.
In this film, Bryan Mills (Liam Neeson) has settled down for some relative peace and quiet after the events that led to his daughter Kim (Maggie Grace) and ex-wife Lenore (Famke Janssen) being kidnapped by criminals who didn’t know who they were dealing with. But Lenore isn’t happy in her marriage to Stuart (Dougray Scott), and thinking about wanting to be back with Bryan. It’s not to be, though, when Lenore winds up dead in Bryan’s apartment, framing him, and sending him on the run from the police and a detective (Forest Whitaker) who wants to get to the truth. Does it have to do with a Russian arms dealer (Sam Spruell)? Do you care? Will you?
I didn’t. Yeah, it’s got some entertainment value as an empty thrill machine, and Neeson is always worth watching (well, mostly). But sometimes, empty thrills aren’t enough. Some substance to go with the craziness is important. Neeson can’t provide it alone, and Besson directorial stand-in Olivier Megaton (“Taken 2,” “Transporter 3”) lacks the surprising heart Besson can bring to such insanity. We need you in the director’s chair, Luc Besson. You’re our only hope. The “Taken” franchise, meanwhile, is beyond hope at this point.
