Review: Taken 2 (2012) cuts its nose to spite its face.

Taken 2

2012

92 minutes

rated PG-13

by Scott Mendelson

Despite my best efforts, I actually saw Taken 2 last night.  Long-story short, I had time to see a film late last night and everything else I wanted to see either had inconvenient showtimes (The Perks of Being A Wallflower), was something my wife wanted to see (Sinister, Pitch Perfect), or was something that my daughter may eventually decide she wants to see after all (Frankenweenie).  And yes, as expected, Taken 2 was indeed a bad movie.  But it was bad in a rather surprising way.  First of all, unlike the lean, mean, and rather cold-hearted original, this sequel not only was edited to achieve a PG-13 in a way the first film was not (the differences in the first film's international R-rated cut and the PG-13 version were minimal), but it was pitched to a younger audience.  Gone were the moments of cruelty or out-and-out brutality.  Gone was the unrelenting determination of Liam Neeson's bad-ass, willing to shoot innocent bystanders and threaten the family of a crooked cop, replaced by a painfully generic "I have to save my wife from bad guys and mostly attack in pure self-defense or defense of others".  With a subplot involving Maggie Grace's driving test, which arguably harkens back to the much-loathed "Jeff Goldblum's daughter proves she shouldn't have been cut from the gymnastic team' gag in The Lost World, and an emphasis on reconciling a dysfunctional nuclear family, the film feels pitched to a weirdly conformist and/or younger audience.

Review: Lockout (2012) delivers distinctly 1990s-style B-movie action goods.

Lockout
2012
95 minutes
rated PG-13

by Scott Mendelson

The funniest moment in Lockout, especially in hindsight, is a credit that appears which states that the film is 'based on an original idea by Luc Besson'.  Written and directed by James Mather and Stephen St. Leger, the film is the sort of genre rip-off that is so old that it almost feels new again.  This film is as unoriginal as a movie can be without being a sequel, remake, or reboot.  That it is none of those things inspires a token amount of warm feelings, which in turn says something about the state of the industry.  Guy Pearce may be attempting to create a new Snake Plissken, but the film's template is pure unadulterated Die Hard.  More than that, Lockout feels less like a riff on Die Hard than a science-fiction and comparatively large-budget variation on the countless direct-to-VHS Die Hard rip-offs that prospered during the uber-late hours of HBO-5 or Showtime-6 just before DVD hit the mainstream.  With occasionally awful special effects, a bare minimum of decent acting, and a down-and-dirty sensibility that belies its existence as a mainstream theatrical feature, Lockout feels less like Die Hard on a space prison as No Contest on a space prison.