Halle Berry races against the clock and the road with anything in her way, as the victim of a “Kidnap”. A single mother named Karla Dyson (Halle Berry) lives a perfect life with her young son Frankie (Sage Correa). One day, upon entering a local park, Karla sees her son suddenly being abducted out of the blue by a savage kidnapper. To save Frankie from abduction, Karla goes out on an unending and thrilling car chase behind Frankie’s abductors. Her steely resolve and determination to save her son at any cost takes her on a dangerous mission, endangering herself, as well as her son who is held captive in the antagonist’s car. With little help from the local law enforcement, Karla realizes that if she wants something done right, she’s going to have to put the pedal to the medal and do it herself. “Kidnap” is directed by Luis Prieto, and is rated R for some adult language, scenes of peril, and automobile devastation.
Prieto’s second directing effort has had a bit of problems en-route to making it to the silver screen. After the closing of Relativity Media, “Kidnap” was one of a few films that sat on the shelf well past its designated release date. Set for debut in December 2016, Prieto’s movie never reached the light of day for whatever reason, being pushed to the end of 2017 for its new possibility. After finally getting my hands on a copy of it, I can once again understand why such decisions get made by big budget studios. “Kidnap” is very much as conventional and underwhelming as it gets with the chase subgenre, mainly because there’s nothing extraordinary or memorable about the 90 minutes that you sit through to reach the predictable ending. If you’re fortunate enough to sit through the trailer, you will already have an idea in your head about the meandering direction and risk-less sequences that play out before our very eyes. Its biggest sin is that it isn’t terrible enough to be laughable, it’s forgettable enough to be wasteful, an idea that too many of these B-90’s films are settling for twenty years after their expiration dates.
Right off of the bat, we are treated to everything that we will come to understand with what follows in this careless picture. A slideshow of Frankie growing up and being narrated by Berry opens the film, but her vocals are clearly inserted in post production. How do I know this? Because her voice never sounds any different in tone from scene-to-scene, nor blurred any in volume when a video takes place outside or around loud circumstances. I guess I shouldn’t complain too much because this is among the only narration that we received for the entirety of the movie. The biggest problem with having a film take place entirely on the road is that there’s very little time to soak things in and allow the audience to follow along with our protagonist. Because of this, Berry is relegated to coming off as a psychopath by continuing to talk to herself and explain her plans in great detail. It’s evident that this is for the audience and not so much for her worry towards the ensuing developments, but because this movie has virtually no evolving plot aside from what you read above, we have to be satisfied with the crash-and-stash mentality that Prieto conjures up.
The story stays faithfully grounded, limiting what happens off of the road with character exposition or plot advancement. If there is one positive, I can safely say that “Kidnap” is everything that it advertises. There’s no manipulation when the movie phones in the emphasis on urgency that films like these need to steal your emotional investment. Despite this, the film’s pacing rarely ever lags or drags due to boredom, but the overly-anxious push to a speedy conclusion throttles to a dead end road full of neatly tucked away conclusions. Believe me when I say that there is nothing remotely fascinating about the ending of this movie, even skimping on the setup for a possible fight scene that could’ve showed the true rage of a Mother protecting her cub. The film’s final fifteen minutes just kind of come and go with very little adversity, and it proved to be the final stamp on a movie that didn’t care enough to offer a satisfying enough poetic justice for those who commit the most unlawful of crimes.
As far as the actual action goes, the stuff on the road is satisfying enough, very rarely slowing down to give us the chance to breathe. The problem comes in the logic of the circumstances that our hero, as well as our villain makes along the way. If one thing was clear to me early on, it was that this film certainly isn’t raising any geniuses, and while there is something to be said about thinking under the pressure of the moment, there’s a louder voice speaking to the depths of just how easy it would be for Karla to defeat her faceless nemesis in minutes, or how said nemesis keeps managing to run into her despite getting several head-starts and immense advantages. Because this isn’t a cerebral chase film on the heels of 90’s thrillers like “Breakdown” or “Highwaymen”, it immediately takes away from how cunning that the mental chess game between these characters could’ve been.
Some more of the technical achievements that I pulled from the movie only added further to the already lackluster approach that handicaps Prieto’s abilities. Each chase sequence is shot in the same formulaic tone that it rarely offers it from different levels of perspective to appreciate what a crew can do with a camera. There were several scenes that embraced the style of shooting Berry’s ridiculously cheesy facial expressions, then cut to the front of the car, then zoom out. Rinse, wash, repeat. It’s only impressive by its generic nature. In addition to this, there was a scene early on when the chase starts that is so ugly in depiction that I find it hard to believe that Ray Charles couldn’t have shot it better. It reminded me eerily of how you will watch a trailer and watch the cliche of everything fading to black scene after scene. That’s fine for a trailer, but when that happens in the movie that you pay hard earned money for, you’ve got a real problem. Thankfully, they only do this the once, but its soul appearance gives off the impression of a different editor who left the job early on.
Thankfully, Halle is a competent actress when it comes to giving it her all, as her performance was one of very few notable positives that I pulled from the movie. Aside from the goofy facials that I expressed about earlier, Berry commands Karla as a mentally unfurling force of one who refuses to ever give up when it comes to the thing she loves most in this world. On that sense, Karla feels like a character that many women will easily get behind, and Berry’s conscious effort behind it seals the deal for a protagonist who grows in doubles by the end of the film. I’ve always thought she was a solid actress, just accepts the leads in movie scripts that are well below her potential in terms of material. Don’t believe me? See “Gothika”, “Catwoman”, and “The Call”, the latter of which is essentially the same movie as “Kidnap”. Berry definitely deserved better antagonists for the film, because if the movie doesn’t even find them interesting enough to focus on until the final act, why should we as an audience?
THE VERDICT – “Kidnap” catches a flat tire of modest ambition early on, and then spins out of control by the end of the film, with stretched logic and lackluster consequence. Berry’s performance proves that she can still bring a tasty center to a meaty delivery, but unfortunately the miniscule scale here is what kept her abilities and the film alike, on the shelf for the past five months. This one steals our childlike dreams of ambition for hopes of an enjoyable hour-and-a-half, and never gives them back. Unlike Berry in the movie, I’m still in search of my time back.