Tag Archives: Luc Besson

Taken 2 (2012, Olivier Megaton), the unrated version

Besides a truly excellent real time (or very close to it) sequence where Maggie Grace avoids being kidnapped in order to help already kidnapped parents Liam Neeson and Famke Janssen, there's not much to Taken 2. Even the action-packed finale is a disappointment. I had been hoping it'd match that long sequence–which goes from a foot chase to car chase, with action moments throughout–but it's like everyone gave up and truncated the ending.

Maybe Neeson had it in his contract the movie could only run so long. A major part of his performance is his visible distain for the film; he incorporates the world weariness into the part well, but one can't help notice he doesn't run very often and many of the complicated action choreography happens when he's offscreen.

Still, director Megaton does a perfectly adequate job. Taken 2 is fast and dumb, no one seems to disagree. Writers Luc Besson and Robert Mark Kamen don't even try to fill the runtime with action and intrigue–there's a long first act setting up Janssen and Grace visiting Istanbul with Neeson. The writers pretend spending time with the characters will make the audience care, but really… no one cares. Not the writers, not the actors. They all do okay enough–even Grace, who looks about twenty-two as a teenager (which isn't bad, considering she was twenty-eight or so during filming).

Maybe it'd be better if Rade Serbedzija's villain weren't so lame, but why bother caring. Like I said, no one else does.

1.5/4★½

CREDITS

Directed by Olivier Megaton; written by Luc Besson and Robert Mark Kamen; director of photography, Romain Lacourbas; edited by Camille Delamarre and Vincent Tabaillon; music by Nathaniel Méchaly; production designer, Sébastien Inizan; produced by Besson; released by EuropaCorp.

Starring Liam Neeson (Bryan Mills), Maggie Grace (Kim), Famke Janssen (Lenore), Leland Orser (Sam), Jon Gries (Casey), D.B. Sweeney (Bernie), Luke Grimes (Jamie) and Rade Serbedzija (Murad Krasniqi).


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The Family (2013, Luc Besson)

I don’t know if the best description for The Family is confused or confusing. Besson is doing a mob “comedy” with Robert De Niro ostensibly spoofing his more famous mob movie personas, only the film isn’t exactly funny. De Niro thinks the violence he enacts upon others is funny, but he’s a psychopath. I think Besson’s got to get it-he even goes so far to do an unbelievably big Goodfellas thing with that film’s audience clapping for De Niro after he talks about the good old days of being a mobster in New York.

Only Besson doesn’t really draw attention to it. He takes the time for it, he does the work, he just doesn’t help the viewer along. Such muted commentary just makes the film slightly hostile.

De Niro’s fine in the lead. Even though the cast is outstanding, Besson jumps around so much De Niro actually doesn’t get to spend a lot of time with the principals. He and Michelle Pfeiffer have a couple really nice moments; mostly De Niro just plays off Tommy Lee Jones as his FBI handler.

Pfeiffer’s awesome, she gets two subplots to herself. In one, her Catholic arc, Besson plays with how absurd humor works. He sort of breaks it apart and looks at it.

Dianna Agron and John D’Leo are both excellent as the kids. D’Leo’s got more fun stuff to do, with Agron having the film’s most dramatic arc.

Lovely Thierry Arbogast photography as always.

The Family‘s a surprise success.

2.5/4★★½

CREDITS

Directed by Luc Besson; screenplay by Besson and Michael Caleo, based on a novel by Tonino Benacquista; director of photography, Thierry Arbogast; edited by Julien Rey; music by Evgueni Galperine and Sacha Galperine; production designer, Hugues Tissandier; produced by Besson, Ryan Kavanaugh and Virginie Silla; released by Relativity Media.

Starring Robert De Niro (Fred Blake), Michelle Pfeiffer (Maggie Blake), Dianna Agron (Belle Blake), John D’Leo (Warren Blake), Jimmy Palumbo (Di Cicco), Domenick Lombardozzi (Caputo), Stan Carp (Don Luchese), Vincent Pastore (Fat Willy), Jon Freda (Rocco) and Tommy Lee Jones (Robert Stansfield).


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Point of No Return (1993, John Badham)

I can’t remember any good Hollywood remakes of recent foreign films. Point of No Return was supposed to be a big deal–Bridget Fonda getting the coveted lead was a big deal (she went on to say she’d never read reviews again after No Return).

The film’s basically a shot for shot remake of Nikita; besides screenwriters of questionable pedigree, the real problem is John Badham.

As a friend once said, “John Badham makes bad movies.”

Badham trying to make this film is ludicrous. It’s got a complicated character arc–villain to hero–and Badham doesn’t work well with complexities. He also doesn’t do well when he doesn’t have a strong, movie star lead.

Part of the point of Point of No Return is Bridget Fonda not having a strong personality. When she’s in scenes with Gabriel Byrne or, especially, Anne Bancroft, it’s a complete misfire under Badham’s direction.

Hans Zimmer’s absurd score is no help either. Zimmer gives an action movie a zany comedy score. And it’s always blaring.

The film’s very much of its time–Harvey Keitel shows up post-Reservoir Dogs, Dermot Mulroney is still in big studio releases–but it’s hard to understand why Warners thought Badham was the right director for this picture. Badham was never an A-list director and this picture was–at least, like I said, in my recollection–intended to be a major release.

Maybe after Luc Besson turned it down, Warner gave up trying.

Instead, Badham made a boring remake.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by John Badham; screenplay by Robert Getchell and Alexandra Seros, based on a film by Luc Besson; director of photography, Michael W. Watkins; edited by Frank Morriss; music by Hans Zimmer; production designer, Philip Harrison; produced by Art Linson; released by Warner Bros.

Starring Bridget Fonda (Maggie), Gabriel Byrne (Bob), Dermot Mulroney (J.P.), Miguel Ferrer (Kaufman), Anne Bancroft (Amanda), Olivia d’Abo (Angela), Richard Romanus (Fahd Bahktiar) and Harvey Keitel (Victor the Cleaner).


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Kiss of the Dragon (2001, Chris Nahon)

I wonder how long it takes Luc Besson and Robert Mark Kamen to script their action movies. None are ever very long (or very good—for the most part) and they’re all exceptionally simple. Maybe they have some kind of fun method to it, like they get a Domino’s pizza and write one in a night, maybe even acting the scenes out while someone transcribes it all.

Kiss of the Dragon’s got some awful dialogue, mostly because they try to be serious and show how difficult life is for Bridget Fonda. She’s an American farm girl turned heroin-addicted Parisian streetwalker. It’s unclear how she made the transition… something the script touches on, then avoids because it seems too difficult.

Fonda is all right—she has the film’s worst lines. She’s never quite believable, but she’s always too good for the script.

Jet Li’s solid in the lead role (though he’s asexual as always, which severely cuts into Dragon’s realism at times). Tchéky Karyo has a great time as the villain, though Besson is sort of redoing Leon, only with a Chinese guy in Paris instead of an Italian guy in New York.

The cultural thing is a little strange—Besson and Kamen portray the French police as corrupt murderers, while the Chinese are the good guys. The Chinese government banned the film, apparently not taking the compliment.

Craig Armstrong’s score is pretty, but isn’t well-suited.

Nahon’s direction has good moments. Dragon is always watchable, even if it’s stupid.

1/4

CREDITS

Directed by Chris Nahon; screenplay by Luc Besson and Robert Mark Kamen, based on a story by Jet Li; director of photography, Thierry Arbogast; edited by Marco Cavé; music by Craig Armstrong; production designer, Jacques Bufnoir; produced by Besson, Steve Chasman and Happy Walters; released by 20th Century Fox.

Starring Jet Li (Liu Jian), Bridget Fonda (Jessica Kamen), Tchéky Karyo (Insp. Richard), Max Ryan (Lupo), Ric Young (Mister Big), Burt Kwouk (Uncle Tai) and Laurence Ashley (Aja).


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