The selling point here is how deftly Liam Neeson hacks his way through a bevy of Albanian baddies. Liam Neeson's daughter isn't 'Dead', she's 'Taken', so his race against the ticking stopwatch tracking her probable fate provides enough tension to diffuse any disappointment in knowing exactly what's going to happen here. By setting the chase within the ultra-sleazy world of human trafficking, which we secretly hope is just a media creation, but know deep inside that this reprehensible and inhumane phenomenon is a reality, the film is propelled by a sense of urgency that isn't present in most revenge films.
Taken may be a simple film, but it's not simplistic, and even though the first third of it is spent recapping what we knew going in, the second and third acts here deliver enough thrills and action to make this film riveting, even if we know exactly where it's going. Considering that there aren't really any surprises to be found in Taken, beyond those we were offered in the pre-release snippet, are splendidly realized action sequences enough to carry this film? The answer here is a resounding 'yes'. This presents an interesting experiment, actually. Since the entire plot of this film is given away in the masterfully delivered trailer, it's not divulging anything to say that Taken is a modern-day revenge thriller.
