VALUTAZIONE IMDb
5,1/10
84.110
LA TUA VALUTAZIONE
Un giovane si propone di scoprire la verità sulla sua vita dopo aver trovato una foto di quando era bambino su un sito web di persone scomparse.Un giovane si propone di scoprire la verità sulla sua vita dopo aver trovato una foto di quando era bambino su un sito web di persone scomparse.Un giovane si propone di scoprire la verità sulla sua vita dopo aver trovato una foto di quando era bambino su un sito web di persone scomparse.
- Premi
- 2 vittorie e 3 candidature
Trama
Lo sapevi?
- QuizThe chase scene at PNC Park was filmed on August 22, 2010, during an actual game. The Pirates beat the Mets 2-1. John Singleton wanted to film a chase scene there, which was not in the script, with a small crew with Taylor Lautner doing his own stunts.
- BlooperAs Nathan is on the ground after his father kicks him in the chest, a protective chest guard can be seen underneath his t-shirt.
- ConnessioniFeatured in Conan: The Hunchback of Dekalb County Community College (2011)
- Colonne sonoreCome on Get It
Written by Lenny Kravitz and Craig Ross
Performed by Lenny Kravitz
Courtesy of Roadrunner Records
By arrangement with Warner Music Group Film & TV Licensing
Recensione in evidenza
Let me open with what any film review should address: I did not enjoy this movie. But first, a disclaimer: despite my reasons, I want to assure you that none of my negative points will verbally lambast lead actor Taylor Lautner just because 'he's some guy from Twilight.' Nor will I make scalding reference to his gratuitous lack of upper body wear; the kind that one would hope comes off as witty commentary but ends up sounding more like an awkward combination of contempt and jealousy. So, with that out of the way, let's get started.
When the shy but short-tempered Nathan (Lautner) is paired up with girl next door Karen (Lily Collins) for a school research assignment, he is shocked to find an image of his younger self on a 'missing persons' website, prompting him to question everything he thought was normal about his life. When the cover is blown, he and Karen find themselves on the run, unable to trust anyone in their search for the truth.
Not only will I not target any more of this review towards Lautner personally, I will even concede that he does his best on what is otherwise a sinking ship from the opening scene. Naturally, his acting skills do need refinement, and I expect we're not looking at the next De Niro here, but his occasionally lackluster delivery is simply a branch of a much bigger problem- the script.
As an unapologetic actioner, it should be expected that Abduction possesses some of the clunky dialogue clichés associated with the genre. These include, but are not limited to 'trust has to be earned', 'I'm not leaving without her' and perennial favourite 'wait how do you know my name?', which is actually used more than once. But among these tired expressions is a handful of headscratchers; lines intended to act as cool quips but possessing an undoubtedly cringe-worthy aftertaste. For example, after Gerry (Sigourney Weaver) helps Nathan escape using balloons to cover security cameras (a la Ocean's Eleven) she releases them with the deadpan, utterly serious line of 'I hate balloons'. So you see my point.
The set pieces are just as ludicrous, asking the viewer to buy into the movie too much when we have not been given any reason to engage with the plot in the first place. In one instance, we bear witness to a CIA agent (operating undercover as a suburban housewife) easily take out two trained assassins. The climax set at a baseball game is a storytelling train wreck, fraught with inconsistencies and overly convenient outcomes. At the very least, I hoped a film set in Pittsburgh would show some love for the mighty Steelers instead of the lowly Pirates, but I digress.
General flaws in logic and realism are other aspects that can be attributed to this type of movie without having them become a major concern. Often, we tend to overlook moments which would result in serious injury for the hero in real life simply because he's just that, a hero. I'm also willing to pass these moments off, but in Abduction they occur so often, and on such a noticeable scale that they severely detract from any engagement with the film that could be developed as it progresses, and therein lies its greatest letdown.
I commend the satisfactory action scenes, which minimised the kind of close-up, rapid camera movement that has drawn the bulk of my ire in recent months. Also, I was pleased to see the film show a bit of gumption by avoiding an entirely happy, alls-well-that-ends-well conclusion, but these upsides are not enough to sweeten what is otherwise an inherently flawed film.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*
When the shy but short-tempered Nathan (Lautner) is paired up with girl next door Karen (Lily Collins) for a school research assignment, he is shocked to find an image of his younger self on a 'missing persons' website, prompting him to question everything he thought was normal about his life. When the cover is blown, he and Karen find themselves on the run, unable to trust anyone in their search for the truth.
Not only will I not target any more of this review towards Lautner personally, I will even concede that he does his best on what is otherwise a sinking ship from the opening scene. Naturally, his acting skills do need refinement, and I expect we're not looking at the next De Niro here, but his occasionally lackluster delivery is simply a branch of a much bigger problem- the script.
As an unapologetic actioner, it should be expected that Abduction possesses some of the clunky dialogue clichés associated with the genre. These include, but are not limited to 'trust has to be earned', 'I'm not leaving without her' and perennial favourite 'wait how do you know my name?', which is actually used more than once. But among these tired expressions is a handful of headscratchers; lines intended to act as cool quips but possessing an undoubtedly cringe-worthy aftertaste. For example, after Gerry (Sigourney Weaver) helps Nathan escape using balloons to cover security cameras (a la Ocean's Eleven) she releases them with the deadpan, utterly serious line of 'I hate balloons'. So you see my point.
The set pieces are just as ludicrous, asking the viewer to buy into the movie too much when we have not been given any reason to engage with the plot in the first place. In one instance, we bear witness to a CIA agent (operating undercover as a suburban housewife) easily take out two trained assassins. The climax set at a baseball game is a storytelling train wreck, fraught with inconsistencies and overly convenient outcomes. At the very least, I hoped a film set in Pittsburgh would show some love for the mighty Steelers instead of the lowly Pirates, but I digress.
General flaws in logic and realism are other aspects that can be attributed to this type of movie without having them become a major concern. Often, we tend to overlook moments which would result in serious injury for the hero in real life simply because he's just that, a hero. I'm also willing to pass these moments off, but in Abduction they occur so often, and on such a noticeable scale that they severely detract from any engagement with the film that could be developed as it progresses, and therein lies its greatest letdown.
I commend the satisfactory action scenes, which minimised the kind of close-up, rapid camera movement that has drawn the bulk of my ire in recent months. Also, I was pleased to see the film show a bit of gumption by avoiding an entirely happy, alls-well-that-ends-well conclusion, but these upsides are not enough to sweeten what is otherwise an inherently flawed film.
*There's nothing I love more than a bit of feedback, good or bad. So drop me a line on jnatsis@iprimus.com.au and let me know what you thought of my review.*
- Jonathon_Natsis
- 22 set 2011
- Permalink
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Dettagli
- Data di uscita
- Paese di origine
- Sito ufficiale
- Lingua
- Celebre anche come
- Abduction
- Luoghi delle riprese
- Aziende produttrici
- Vedi altri crediti dell’azienda su IMDbPro
Botteghino
- Budget
- 35.000.000 USD (previsto)
- Lordo Stati Uniti e Canada
- 28.087.155 USD
- Fine settimana di apertura Stati Uniti e Canada
- 10.925.253 USD
- 25 set 2011
- Lordo in tutto il mondo
- 82.087.155 USD
- Tempo di esecuzione1 ora 46 minuti
- Colore
- Mix di suoni
- Proporzioni
- 2.35 : 1
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