On the couch

There was something magical about Taken. Not whimsical, unicorn-y, prancing through the forest magic. More the  “how on earth did a film with such a simple premise turn into something so satisfying and, well, great?” kind,
With its inspired casting of a highly respected actor in the lead role rather than Vin Diesel’s cheapest non-union Mexican equivalent, Pierre Morel’s fast-paced revenge thriller turned into one of the most surprisingly entertaining and satisfying flicks of the last couple of years.
So, obviously, they made a sequel.
Whether you enjoy Taken 2 or not depends largely on three possible criteria – how au fait you are with action films and their tropes; if you have kids or a spouse   and if you can tolerate the fact that, despite its quality remaining the same, plotwise it’s basically a retread of the original.
Taking up a few months after the original, Taken 2 asks an interesting question – what about the minions?
Having kicked, shot, stabbed, stomped and electrocuted his way across Paris in search of his daughter in the first film, Bryan Mills (Liam Neeson) is back in LA and trying to maintain his new, happier relationship with his ex-wife, Lenore (Famke Janssen)  and daughter Kim (Maggie Grace).
An impromptu trip to Istanbul, however, leads the three into the clutches of a gang of Albanian mobsters, led by Murad (Rade Šerbedžija – you’d recognise him if you saw him), the father of the man Bryan electrocuted to death during his search for his kid.
It’s an interesting idea for a film – what happens if you’re forced to think about the nameless cronies and minions as more than just punchbags for the hero and eventual coffin-stuffing?
There’s even a moment where Bryan and Murad stop for a little chat and, confronted with the fact that his son was the worst sort of scumbag, the Albanian maintains his desire for paternal vengeance. An awkward moment where you can’t help but think of a horrible villain, momentarily at least, as more than just a collection of ASBOs tied together with skin and a bad haircut.
As has been his wont for the last few decades, Liam Neeson is the best thing about Taken 2. Craggy faced and physically imposing, the fact that he isn’t a carb-deprived she-man and looks like the sort of weather security operative that could lay the smack down on any number of candy asses makes the whole caper far more easy to accept.
The plausibility level is significantly down from the first one and there are definite moments of silliness. One crowning example involves young Maggie Grace going from being unable to pass her driving test to being an effective wheelperson for Daddy as the two flee some toughs through the winding streets of Istanbul. It’s a great scene but seems slightly divorced from the gritty pseudo-realism that elevated its predecessor above more hysterical schlock.
As wife and daughter, Famke Janssen and Maggie Grace perform their duties – what few there are – admirably. While Janssen, in particular, has little to do other than get rescued and Grace is a sidekick this time out rather than the victim, both take their roles seriously and this helps to balance out elements of the story that could have become unforgivably silly.
As the vengeful father Rade Šerbedžija is reliable as always, serving as a sort of Eastern Eurpoean Mandy Patinkin.
Sadly by broadening the character pallate, Taken 2’s story is nowhere near as satisfying (there’s that word again) as Taken and lacks its complexity, focus and air of desperation. It also feels a lot more American in comparison to the European feel of the last one, which gave it some immediate cred (it’s not fair but it’s true…)
The crux of the matter is, however, how willing you are to put up with a poor retread of a fairly basic story in order to enjoy some revenge thriller action and a solid central performance by an excellent actor?
While there are things to enjoy about Taken 2 – Neeson, the fights, a ridiculous car chase – there’s a lot more about it that would leave you scratching your head wondering “Why?”
It’s the unavoidable money-grabbingness of the whole affair that may stand most strongly against it. As much as the cast are all pros and are clearly not phoning in their performances, there’s no real reason for Taken 2 to exist other than to crank a few more quid out of the idea and that makes the whole thing, despite its quality, a bit pointless.
So what it really boils down to is less a love/hate situation and more a tolerate/hate one.
It mightn’t be the worst thing you’ve ever seen but it might just make you want to punch the telly.