Tag Archives: Dougray Scott

The Vatican Tapes (2015)

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I need an exorcism to expunge this demon inside me that keeps forcing me to watch exorcism films.

Case in point: The Vatican Tapes, yet another been-there-done-that effort that somehow managed to attract some notable stars. While Michael Pena, Djimon Hounsou, Kathleen Robertson and Dougray Scott aren’t exactly household names, they  at least lend credence to a project — or so I thought.

The premise is as cookie-cutter as they come: a young woman (Olivia Taylor Dudley) is involved in an accident and suddenly starts acting all erratic and creepy. I wonder what could be the problem? Call the priests! The power of Christ compels you!

So what makes this possession movie different to its predecessors? Well, as stated explicitly at the start of the film, it’s the idea that the Vatican has a large collection of video and audio tapes of exorcisms it has conducted throughout history (which I think may have already been used in another movie).

While I loathe found footage films, I have to admit the premise seemed suitable for a found footage horror or faux documentary. The problem is, The Vatican Tapes is actually just a conventional horror flick with a few “security cam” scenes tossed in. And just in case we forget the name of the movie, the footage actually has “Vatican Tapes” printed on the bottom of the screen.

In other words, the so-called idea of the Vatican Tapes doesn’t have much to do with the story at all. It’s symbolic of the film’s muddled attempt to differentiate itself and ultimately not knowing what he hell it’s supposed to be. This is made abundantly clear as the film goes completely off the rails in its third act and takes the concept of demonic possession to another level.

Strangely, Kathleen Robertson (TV’s 90210 and Boss) gets top billing although she’s a supporting character who only occupies the middle chunk of the film. Djimon Hounsou is listed third but literally has a cameo, while Michael Pena and Dougray Scott are obviously just there for the cheques. Pena, in particular, playing a serious role for once, seems almost ashamed to be in it.

All of these issues would have been bearable had The Vatican Tapes actually been scary. Sadly, it doesn’t even get close to producing a single scare. Anything this film tries has been done a thousand times before, except better, and with a more effective atmosphere.

So that can only lead to one conclusion: The Vatican Tapes sucked balls. There probably have been worse exorcism films made, but at least they’ll be more memorable than this scareless, run-of-the-mill wannabe.

1.5 stars out of 5

Movie Review: Taken 3 (2014)

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I’m not quite sure if this is the right way to express it, but my soft spot for the Taken franchise is…getting hard?

Look, I knew Taken 3 was more of a cash grab than a genuine attempt to rekindle the magic of the original, one of the best action films of the last decade. Taken 2 was largely an over-the-top failure with some decent moments, but at least it tried. Taken 3, on the other hand, has more or less become an unintentional parody of itself.

The beauty of Taken was in its remarkable simplicity — a relentless man with a very specific set of skills sets out to find the man who took his daughter, and kills him. Taken 3, however, has reverted to a fairly typical murder-mystery in the vein of (well, more like ripped right out of) The Fugitive, where Bryan Mills (Liam Neeson) is set up for the murder of a loved one and must find the killer before the police — headed by a sleepier-than-usual Forest Whitaker — catches him.

The action is never really the problem with Taken 3.  Director Olivier Megaton, who was responsible for Taken 2, gives us plenty of car chases, shootouts and hand-to-hand combat scenes, most of which are executed rather well (with some caveats I will get to). Liam Neeson is still capable and relentless, but at 62 he has clearly lost a step, making Bryan Mills by far the most vulnerable we’ve seen him. Fortunately, he is still a regular Houdini and somehow manages to escapes certain death at least a handful of times in this film without incurring anything more than a couple of temporary scratches.

The big problem with Taken 3 is that the portrayal of the action is heavily muted for classification purposes. When audiences watch Bryan Mills they want to see swift brutality. The blood is almost expected. In Taken 3, the violence is rapid cuts at the point of impact and cutting away when the “good stuff” is about to happen. People get shot and stabbed, but we don’t actually get to see any of it. The result is a strangely unsatisfying experience that takes away a lot of the visceral thrills from the original.

The rest of the film doesn’t offer much. The script, penned by Luc Besson and Robert Mark Kaman (who collaborated on the two earlier films), is truly horrendous, complete with dialogue that will make you shudder with embarrassment. Gaps in logic and common sense fails are all over the place, and I’m not even just talking about typical instances where bad guys conveniently spare lives and give the good guys opportunities to turn things around — though that happens a lot too.

And Maggie Grace’s character, Kim Mills, continues to be such an annoying, grating BIATCH that it horrifies me to realise that her father would go to all these lengths to protect her. I was secretly hoping that she would get killed all throughout the movie — which actually would have been awesome because it would have set Bryan on a historic rampage. Alas, it wasn’t meant to be.

At 109 minutes, the film is far too long as well, especially when you consider that Taken was a perfect 90 minutes and Taken 2 was a manageable 98 minutes. It’s as though the makers of Taken 3 have gradually stripped away everything that made the original Taken a classic and replaced it with conventional Hollywood action cliches.

Having said all that, if you are a fan of the franchise because of the first film like me, then you might still find Taken 3 to be acceptable. It’s essentially just another average Hollywood action-thriller being carried by the goodwill of the original and its familiar, iconic protagonist. For some, that might be reason enough to watch it.

2.75 stars out of 5