Taken 2: Bryan Mills and his ‘very particular set of skills’ are hunted down by the relatives of the bad guys from Paris (Taken). If Mr Megaton had stuck to the surefire winning formula of the first film, he’d have been OK, however, he strays way off topic. Action, drama and no-brain story: 66% – this is far to silly to have any sense of drama or threat. Hard-hitting fight-scenes: 33% – my beloved, worn-down, Taken DVD is 18-rated, this was a 12A, with all of the bloody bone-crunching edges are taken off. Liam Neeson acting well: – 15% – he totally looks like he can not be arsed here, as do most of the cast. A brief list of the memorable moments tell you more about the tone of the film that any sensible review could:
- Maggie Grace gratuitously running around in a Bikini
- Maggie Grace – having not passed her driving test – executing perfect evasive/offensive driving
- Maggie Grace throwing grenades on Istanbul roofs so Neeson can locate her.
- Neeson being left in a room, alone, for a long time
- Neeson having a mini-phone in his pocket
- Neeson walking through Istanbul navigating using only his ears.
Overall, it feels like far more like a “Shit, we accidentally got a worldwide hit from a B-movie – may as well cash-in with a rushed sequel” affair, over a well-thought out, original, nasty, well done action flick. All that being said, Taken 2 is nowhere near as bad as the critics have made it out to be, there’s more than enough mindless action scenes to keep audiences entertained.
Giallo: when a string of beautiful foreign women are abducted, brutalised and dumped in the streets of Torino an air hostess and jaded detective join up to catch the killer. Everything about this reeks of a cheap 1980s horror; the foreign setting, production values, film quality, characters, hairstyles, music, storytelling, and the ridiculous villain… Other than a few modern-ish torture scenes, this could easily be mistaken for an old, cheap film. There’s an eccentric pan-European cast, with some terrible acting and broken-English phonetic dialogue delivery, headed up by Brody, as a hammy New Yorker who looks like he’s forgotten everything he learnt about convincing acting. What’s most disappointing is that Dario Argento, someone who was once a master of the horror genre, is still pumping out films that show zero progression from his 1970s/1980s titles – if anything, they were far superior. It’s under 90 minutes long, yet contains so many unnecessary filler shots. Basically, this is no better or different to any of the thousands of low-budget shitty horrors you’d find on satellite TV (although some score higher!). At its best, this is a semi-competent euro-slasher. At its worst, it’s like a spoof genre picture where a pursuing policeman falls over after running into a mop. I’ve seen it all before, far better.
Nick & Norah’s Infinite Playlist: 3 gay guys try to set up the ultimate band-nerd guy with the ultimate Indie Cindy, for double the awkwardness. Michael Cera plays himself again but to balance it up there’s loads of shots of Kat Denning‘s extraordinary, super-sized, super-bouncy, jiggly-and-beatuiful… lips. The first hour has a drunken side-story that Ke$ha seems to have based her career on, although it’s got the most rancid (toilet) gross out I can remember. Samberg & Burrell get blink-and-you’ll-miss-it cameos. The film only just loses out to (500) Days of Summer on the quirk score leader board, no mean feat! There’s some good running gags (chewing gum/Taxi) and a few good scenes; the romantic moment where the camera follows the mic leads through to the studio is great. It’s enjoyable but totally vapid and inoffensive with a predictably boring N.Y. based indie/art rock soundtrack.