Best thriller

This thriller is the most interesting which i have ever seen.
Brian (Liam Neeson) - once a counterintelligence officer, and now a divorced retired bachelor, sips beer with fellow soldiers, earns money in a Los Angeles private security company, quarrels with his ex-wife and adores his daughter - seventeen-year-old imbecile Kim (Maggie Grace). Like any special service officer who has dealt with the wrong side of the surrounding reality, Brian is looking everywhere for security holes, and immediately gets on watch when his daughter flies to Europe for a vacation. The concern was not in vain: in Paris, the young lady is kidnapped by the Albanian mafia and sold into sex slavery. Brian has a few hours left to fly across the ocean, free his beloved child, fill the villains with lead and fill the right people in the face.

To the shy Yankees at heart, Europe has always been a criminal amusement park, where dog-headed locals speak an incomprehensible language and dream of profiting from dollars. In connection with /Taken/ (2008) and the city of Paris - known to be the most frustrating breach in the security of American citizens abroad - /Frantic/ (1988) with Harrison Ford comes to mind, one of the best action films on the subject. But Ford's hero was rather a passive victim, an unfortunate layman forced to show courage in extreme circumstances.And the enchanting mess that Neeson's hero arranges in the capital of France is more like an act of international retribution, as if an American battleship entered the Seine and began firing at the romantic embankments with direct fire because these cowards did not support the war in Iraq. The concern of the local special services, which have already established tender relations with the Albanian mafia, and dream of expelling this type from the country as soon as possible, is understandable. And also receiving in the face.

The most surprising thing is that "Hostage" is a French film conceived and produced by Luc Besson, a European filmmaker who plays by Hollywood rules and continues to promote his main find - Pierre Morel, an excellent cameraman (/War/ (2007), /Transporter, The / (2002)) and a nugget director who shot /Banlieue 13/ (2004) for him. Just imagine how predictably boring the American hostage story would have been if it had been taken on across the Atlantic by some big studio with a bloated staff and clever marketing.Here, every three minutes, the screen is decorated with some kind of shameless, virtuoso violence, the crunch of the cervical vertebrae, the screech of brakes, the roar of shots and the joyful lack of political correctness. And everything, mind you, is packed into some one and a half hours - the good old seventies format that respects the patience of the audience. They didn’t forget about food for thought either: the hero, using deduction methods, finds Albanian villains practically from scratch, clinging, like Sherlock Holmes, to a thread stuck in a broken mirror.

But the main surprise of the film was still Neeson, whose unique external data can be exploited in the range from Irish saints to evil schizophrenics, but for the last ten years the saints were lucky for Neeson for some reason more. Released even before / Schindler's List / (1993) detective / Under suspicion / (1991) was, it seems, almost the last full-fledged thriller in his career. "Hostage" made me remember that this phlegmatic Irishman is a real action star: when a person with such a kind, thoughtful face hurts people for an hour and a half in a row, this in itself is a great show.