beatleblack

I had two concerns before seeing this film: Will it be as good as Taken? and Has the trailer completely spoilt the reveals? I assumed No and Yes and still largely have that opinion. However, those pre-conceptions along with less than generous critical reviews thankfully managed to down-play my expectations and all-in-all I'm glad because I really enjoyed this film.

It harks back to post-Hitchcockian thrillers that I've enjoyed immensely in the past and which don't seem to get made these days, such as Polanski's Frantic.

I had read that it was formulaic and predictable, well, formaulic is fine so long as it is delivered well which this certainly is and anyway this genre is largely unrepresented (in my opinion) today so any good representation is to be welcomed.

As for predictable...? I didn't sit there trying to resolve the puzzle and even if I had, I'm not so sure I would have done so before the narrative revealed all. As such, I was entranced by the piecing together of it all.

Genre & formula aside, Liam Neeson is in Taken territory in terms of passion, confussion & anger whilst the choreography of action & tension is slick and impressively paced throughout: gear-changing car-chases, street-running evasions and psychological check-mates.

One final point, I liked the film's genuine tho subtle attempt to highlight social liberal issues such as free market ethnic labour exploitation and the hope that science can be motivated by ethics rather than profit.

If you like the appeal of this film, I believe you will enjoy it plentifully.

Maybe 7 out of 10 is generous but I mark it highly perhaps because I had such low expectations which were thankfully unnecessary.

This film's credits open with the title The Night Chronicles 1 which suggests to me his fan-boy homage to Spielberg has stretched to emulating the guru's Amazing Stories phase. This film does feel rather like one of those episodes rather than a full-blown movie: no stars, little location etc.

However, as a story, it's rather good (suspension of disbelief taken for granted).

And, it's rather well handled directorially. For instance, the upside-down sklyline speaks volumes without costing any extra.

The film is ultimately a whodunnit. Maybe I'm stupid but come betting slip time, I didn't get it. If you do, you may hate it. I didn't so I don't. Besides, I haven't seen this Christian propaganda in a while & it made me kinda nostalgic for those Omen days.

My initial feeling upon seeing this film's trailer was "Oh no, they're going to ruin a classic allegorical nightmare with a Phone Booth" but I was wrong. What made me think like that was the casting of Ryan Reynolds. I don't know who the director is but I'm guessing he's not one of Hollywood's MTV bitches because this film happily does not play the 'formula' game.

Credit must also go to the writer who manages to say a few truths without losing sight of the arc within a very confined stage.

But, mostly, credit goes to Mr Reynolds whose presence presumably got this project its green light & subsequent profile.

I have two ways of reviewing this film. Firstly, as a Hollywood popcorn movie: it pleasingly teases then disappoints. Secondly, as a philosophical & sociological commentary, it deserves warm applause.

I know that sounds pretentious but the fact is this film manages to sustain tension with one visible actor lying in a box for 90mins which makes it remarkable. And, its nihilism is a Hard Truth that Hollywood normally berates as heretic. For that, this film is brave.

Not necessarily a date movie but I'd recommend existentialist thinkers to see it.