Fact: Everyone who lives in California LOVES Taken
Fact: Everyone who lives in California LOVES Taken
It's like the film is standing over you going "See? SEE?" and expecting you to agree that yes, things would be simpler if we just let the menfolk do all the thinking and homestead protecting for us, because gosh, we just don't understand the risks out there. It's fucking embarrassing to watch a movie treat Famke motherfucking Janssen as a naive housewife with foolish notions above her station. For God's sake, the bitch nearly killed Bond with her vagina, reducing her to the role of cheerleader for a sixty year old with a pot belly is just... undignified. And hell, aside from his wife, and his daughter and Miscellaneous Scenery Prostitutes, the only other woman I can recall in the film actually literally makes him dinner in the middle of his mission.
Right before he shoots her. And he doesn't even shoot her because she deserves it, but because her husband offends him. And then he apologises - to her husband, and she's never mentioned again. This film treats every single woman in it as property of an adjacent male character, in a way that's compounded a thousand times by the fact that it's ostensibly about the evils of human trafficking. Neeson never comes across as a dad desperate to get his kid back safe - he's just a guy pissed off that some other guy has foolishly dared to take one of his Girl Things from out under his nose.
There's something incredibly ugly about the whole thought process under the surface of Taken. It's like the 93 minute deranged fantasy a meth addled abusive ex-husband might have in between fits of screaming "YOU NEED ME!" through a letterbox.
Also, everybody who isn't white and American is a chortling cartoon here to buy your slutty yankee women and defile them with their foreign penises, those animals. There is more moustache laughing in this film than you can shake one of your mighty, god-fearing American sticks at. It's not quite up there with 300 on that score - at least all the not-white guys aren't physically deformed or gay too - but it's so laughable that when I asked a middle eastern guy I know if he found it offensive, he told me he'd assumed the whole thing was a parody.
Yeah, that's pretty much everything I liked about Taken.
It was made by French people, what did you expect?
Hahaha, Bryan. Me too.
WHAT TEENAGER ON PLANET EARTH WOULD FOLLOW U2 ON TOUR
I don't think anybody has ever claimed that anything Luc Besson is involved with beyond his own directorial efforts isn't a completely retarded B-movie piece of trash. His entire catalog of write/rproducer credits is basically some form of exploitation movie.
I actually liked that the two Joe's conflict was played out at a distance and indirectly for much of the film. I saw it as Willis Joe failing to get the proper perspective and continuing to just shoot his fucking problems down (everything Willis Joe does in the film conforms perfectly to his action-star type which I found amusing) while JGL Joe slows down, sobers up and finally sees something that's not just the inside of a night club or gang hideout.
I wasn't super satisfied with the film though, and it's been needling at me too. My favorite part of the whole thing was the frog toy communicator booty call!
There's just something much more dispiriting about Taken than there is about its cheaper looking brethren. I've never been this annoyed by a Jason Statham film, for instance.
As for the conflict between the two of them....my feelings toward that have only gotten worse since I typed that up last night. SPOILERS
The conflict between Willis Joe and Joe Joe is absolutely annihilated by the end scene of the film. We see several minor instances (such as the carving directions into his forearm) and one major one (when Cid has his big freak-out in the house and they learn instantaneously that he's the Rainmaker) in which something happens to Joe Joe and then immediately becomes part of Willis Joe's backstory/knowledge inventory. But yet, the growing connection between Joe Joe and Sara/Cid never has any impact on Willis Joe, as the movie continues to hinge upon his single-minded need to kill the boy. I feel like Johnson squandered an ENORMOUS opportunity to dig in and play with the psychological conflict within Willis - this memory of someone he loved, and the desire to kill in order to save her, conflicting with growing feelings toward his marks that he has no control over. But no - Johnson's main focus is on making something hip and slick and self-aware to the point that the movie has a black eye from winking at us so fucking hard.
I really hate to do the Randy thing where I shit all over a movie for choosing to be something other than what I think it should be. But why raise any of these ideas about a person's past haunting/helping them in the future if you're just going to end the movie with a thoughtless set piece?
Everyone in 300 should have been gay, sort of, because the Spartan agoge system was built around institutionalised pederasty, but blah blah blah go to hell Frank Miller.
But like I said, in this case, my flatmate made me watch it. I take no responsibility, I was a conscientious objector.
You were complicit in its broadcast in your home. Silence is violence.
I wish Amazon wasn't monopolizing the market with the Universal Classic Monsters Blu Ray set that came out this week. They are pricing it at $111! I'd love to see all of these this month but not at that price. I tried checking a few Best Buys, Costco and Target and no one got a copy in.
Ridley Scott is a dick.
Oh, and also, I probably should have started the post with this info, but the UK set is region free (the same exact discs, I believe) and you can get it for $55 including shipping
Fuck Universal's horror box - THIS is the Blu-Ray release to care about.
Anyone know where I can buy a wall mounted projection screen? Frys carries them but they only sell 4:3 aspect ration, I need widescreen. I know I can order online, but I kind of need it by this weekend