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Going into this film you should know that “Hostage” is an over the top sort of film. Based on the unique of the same name by Robert Crais, this 2005 release finds that one hostage drama is not enough, there needs to be two hostage dramas going on at the same time honest to do things even more complicated. Then it decides that the hero should be burdened with guilt over a previous hostage site that goes despicable. On the one hand this makes the scenario gorgeous fabulous, but on the other hand you secure to the point where you are wondering how they are going to regain to the requisite gay ending so you will be hard pressed to call “Hostage” predictable. That being the greatest Hollywood sin, I am willing to forgive this film its faults.
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The prologue finds Jeff Talley (Bruce Willis), with long hair and a long beard, dealing with a hostage plot in L.A. His goal is to do certain that nobody dies that die, but that does not happen. A year later Talley is the chief of police in Bristo Camino in Ventura County. His wife (Serena Scott Thomas) and daughter (Rumer Willis) are aloof living in the city and near out to visit on weekends. The daughter is not speaking to her father, apparently stupefied her parents are going to earn divorced and unable to understand why daddy wants the relative peace and calm of the sticks. But like Willis’ most notorious cloak incarnation, John McClane of the “Die Hard” flicks, the rule of irony applies and his biggest nightmare shows up in town.
Three young punks are sitting in a stolen pick-up truck ogling a young girl who flips them off before getting abet into her daddy’s SUV. They resolve to follow the family home and when they scrutinize a lovely home nestled in the hills outside of town they choose to crash in and push the family around. The thing we know somebody is lifeless and Talley arrives on the scene to be greeted by a hail of bullets. The Smith family ends up being held hostage by these three punks and when the County Sheriff shows up Talley is perfectly gratified to turn over insist and wander away. However, there is an enthusiastic third party to the hostage dwelling who insists that Talley resume thunder and do everything in his power, not to accomplish clear that everybody gets out alive, but that a determined computer disc is retrieved.
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Again, this is a totally incredible location, but it is not slow. You either win into the scenario and go along for the sprint or you do not. My only demand is whether the red herring I picked up on to no proper waste whatsoever was intentional or an uncorrupted mistook. That and why the title credits watch like a dry race for “Sin City” and also have no discernable payoff in the film. The most involving character in the film ends up being Mars (Ben Foster), the trigger gratified one of the punks who had be disturbed because I kept thinking at some point he would realize that the young girl he was holding hostage (Michelle Horn) was going to be the last female he was going to be approach for the rest of his life. Earlier in the film her father (Kevin Pollak) tried to dissuade her from dressing like a tramp. Being eyeballed by punks with guns certainly seems to suggest that she might reconsider her clothing choices in the future (especially in terms of any words that might appear on her shirts) .
Director Florent Siri comes up with some involving camera shots and even managed to price me with a lifeless motion shot (I have been wincing at those graceful powerful since I saw the kill of “Rocky II”) . If anything, Siri is absorbing by the cinematic style of violence he can depict and if you are looking for an action film with flair this might fit the bill. The only one liner Willis’ character has in the film is an echo of something fair said by one of the poor guys and most of the key moments for his character are inarticulate looks of horror, rage, and despair. That is why I notion the two hostage situations were motivation enough without needing to resort to the one that went foul. The waste game of “Hostage” requires a couple of reverses to relieve things along, but I actually found it quite sharp to suddenly be rooting for a character that I was hoping to examine tiresome and although I did figure out the finale surprise twist it was not telegraphed that far in approach, so I was more blissful with myself than disappointed in the film.
Another shaded drama that makes no pretense
Of having a plotline that makes any sense
With two hostage stories, it’s double the action
Depending on violence to win your reaction
Bruce Willis does “misfortune”, the thing he does best
But the acting shouts “B” for most of the rest
He once lost a hostage and retired from the fray
Preferring to sit at his desk every day
But as fate would have it, some punks wrong his path
And it blows up loyal snappily when a cop feels their wrath
They have the Smiths hostage, the fright system sucks
The stakes glean remarkable higher when they net some mammoth bucks
And wouldn’t you know it, the Dad is a crook
By creative accounting, not quite by the book
He’s hidden some files under “Heaven Can Wait”
And organized crime is now storming the gate
The punks are in shambles, they’re out of their league
They’re making mistakes out of greed and fatigue
But Bruce has no choice, he can’t set it aside
His wife and his daughter are kidnapped and tied
The ending’s predictable, violent and gory
A typical, everyday action-man story
With fiery effects and dead motion also
As a rental, this movie is packaged to go.
(Rated 3.5 stars)
Amanda Richards, October 10, 2005
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