Movie Review—Kidnap

Theatrical release poster

by Peter J. O'Connell                                                                                                                                            

Kidnap. Released: Aug. 2017. Runtime: 82 mins. MPAA Rating: R for violence and peril.

In the popular Taken series of films (2008-2115), a fiftyish white male protagonist, played by Liam Neeson, seeks to save family members abducted or in danger. Now in Kidnap a thirtyish African-American female protagonist (Halle Berry) seeks to rescue her abducted six-year-old son. 

Director Luis Prieto, screenwriter Knate Lee, and co-producer Berry have been very economical in the structuring of their film. It is only 82 minutes long, instead of the more standard 120 minutes. There is only one star (Berry) in the cast. The movie has only five sequences—three brief ones at the beginning; a car chase sequence, one of the longest on record, taking up more than half the running time; and a sequence that uses the traditional suspense/action film trope of a woman menaced in an isolated old house. 

The beginning sequences are, first, an appealing series of photos and videos of Frankie (Sage Correa), only child of Karla Dyson (Berry), in his infancy and toddler years; then. Karla, now divorced and in a custody fight with her ex, doing tiring work as a waitress in a diner; then, an excursion of Karla and Frankie to an amusement park, where Frankie is “taken”  by, as we learn, a classic redneck couple, Terry (Lew Temple) and Margo (Chris McGinn), who force him into their car and roar away. After some initial panicky confusion, Karla realizes what has happened and sets off in pursuit of the kidnappers, first on foot, running frantically and losing her phone, and then in her minivan.

The wild and wooly car chase that follows is the central sequence of the film and takes us hither and yon on the spaghetti of superhighways surrounding New Orleans and then onto rural roads in bayou country. Berry as Karla convincingly transforms from soccer mom to “Mama Bear” as the chase proceeds, grimacing fiercely, babbling to herself or to God, crying for help to others along the way, and shrieking imprecations at the kidnappers.

She has several direct and bloody clashes with Terry and Margo, letting them know that she will pursue them relentlessly. “Let me tell you something, as long as my son is in that car, I will not stop. Wherever you go I will be right behind you.” (The fact that Karla in her pursuit causes accidents to a number of innocent motorists might make an interesting topic for discussion by audience members as they drive home after the movie.) The cinematography of the chase is itself, effectively, wild and wooly, a startling array of constantly changing camera angles and shot types. 

By the time she gets to the swamps, the gentle Karla that we saw in the beginning sequences has become a woman of wondrous intensity, willing to use any means necessary, no matter how brutal, to save her beloved child, and not just her child. Kidnap may be only 82 minutes long, but it is one—wait for it—Halle of a thrill ride!