Script aside, no one disengages Taken’s effectiveness more than Maggie Grace, who plays the victim. After being kidnapped, her facial expressions and emotions do not appear as if her character endured any hardship. She doesn’t appear frazzled or traumatized; instead, she looks plain disingenuous. What’s more, Maggie runs with the awkwardness of Napoleon Dynamite, twice. Speaking of which, look out for an Uncle Rico cameo.
What’s more, why is a singer/dancer named Sheerah (Holly Valance) even a part of the screenplay? Solely included to provide a bridge between father and child, Sheerah only cramps the screenplay and takes away from the film’s high-octane vibe. So, kill the pretty pop-star, the karaoke machine, and the U2 tour inclusion, and replace all of the music references with more of Liam Neeson being a badass. Now that sounds like a recipe for success.
All in all, one thing’s for sure: if there is a film that will lead to slashing U.S. spending for study abroad, this is the one. While you won’t feel like you were taken to the cleaners with Taken, you will feel like you were simply taken to the movies. Cinematographer-turned-director Pierre Morel (also responsible for the high-on-action District B13) takes your typical gutsy, fast-paced action thriller and guides it down an atypical avenue.
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