Relativity Media via Everett Collection
It's easy to compare 3 Days to Kill to Luc Besson's flagship franchise Taken. The film itself practically encourages those comparisons, what with the older man who reluctantly returns to a life of killing for the good of his daughter. The hero's quest of hunting down international criminals in a stunning foreign locale is punctuated by all of the explosions and gore your heart could desire. Neither 3 Days screenwriter Besson nor director McG are attempting to blaze a trail or reinvent a wheel. They're simply attempting to create a film that will keep you entertained for two hours, and on that front, at least, they succeed.
Stepping into the Liam Neeson role this time around is Kevin Costner as Ethan Renner, who is either an assasssin or a spy that works for either the CIA or the Secret Service (it's not really all that important in the end), forced to walk away from the job after he is diagnosed with cancer (or maybe a brain tumor). In an attempt to spend his remaining months bonding with his estranged daughter Zoey (Hailee Steinfeld), he moves to Paris to settle down. Of course, that's when Vivi (Amber Heard), a CIA agent/spy/assassin arrives, along with an experimental new drug that could extend Ethan's life, which she will happily pass along... if he takes out their two most wanted criminals within three days.
From there, the film veers wildly between graphic fight sequences, with enough chaos and destruction to equal both Taken movies, and the story of Ethan and Zoey’s growing relationship. Much of the plot is confusing and barely explained – Ethan and Vivi vaguely work for the CIA, although they're unconcerned by the devastating destruction they leave in their wake. The drug is “experimental,” but how it helps or why it’s only available through a giant purple syringe is waived away by the presence of a stack of “research.” Ethan only has three days to complete his mission, but seems to hang around Paris for a lot longer. The villains are wanted by the government for being tangentially involved with a “dirty bomb.” There's a shoehorned-in subplot about family of African immigrants squatting in Ethan's apartment. But despite the fact that so many of these elements never find a way to coalesce into a coherent whole, once the body count starts to rise and the buildings start to fall, it's easy to simply ignore all of that in favor of massive explosions.
When the film works, Ethan's job and his relationship with Zoey blend together in a way that gives 3 Days to Kill some much needed heart and humor — like when he's interrupted in torturing a target by her constant phone calls — but when it doesn’t, the transitions between Ethan taking out the criminals he's hunting and his slightly cloying bonding experience with Zoey can be jarring. As Ethan, Costner is a serviceable action hero; he growls threateningly and stares fondly at Steinfeld when the script calls for it, but for the most part, he appears to be phoning it in. Of course, for this kind of film, that’s all he really needs to do, but it means that by the time the credits roll, much of his performance is already forgotten. As Zoey, Steinfeld does her best with the material, and makes some of the more emotional scenes between herself and Costner affecting. However, even she can’t save the father-daughter plot of the film from becoming trite and stale at times, and so her scenes mostly feel like a quick breather in between the rounds of graphic violence.
Relativity Media via Everett Collection
Heard feels out-of-place as Vivi, who is introduced as the buttoned-down second-in-command to the head of the CIA, but then proceeds to spend the rest of the film speeding around Paris in sports cars, and prancing about in a wardrobe of leather, corsets, and high heels. Costner is clearly in an older-man action film, but Heard is in another film entirely, one in which she’s a sexy super spy single-handedly taking down international criminals. Despite the fact that she’s mostly there to provide exposition and to look pretty, there are moments where you almost wish that she was the focus of 3 Days to Kill instead — or, at the very least, that one of the many subplots had been dropped in favor of expanding her character.
And yet, despite all of the unanswered questions and the weird disparities in tone, 3 Days to Kill is a surprisingly entertaining film. The fact that one of the best fight sequences in the film takes place in a supermarket, while Ethan and an unnamed hitman grapple behind a deli counter, means that it's ridiculous enough to keep you engaged, but it's still able to amp up the tension when it needs to. And when you need a break from watching people come perilously close to being decapitated, there's a well-timed visual gag already lined up. It hits all of the notes required of a cheesy action film, and even though it gets far too bogged down in sentiment at times, it's still got enough heart to add a little substance to the flimsy plot.
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3 Days to Kill does exactly what it needs to, and little more. It doesn't want to make you think — in fact, it actively encourages you not to — and it doesn't try to accomplish anything that will stay with you after the credits have rolled. All 3 Days to Kill wants is to keep you amused for a few hours, with a few explosions and some mindless fun. In the end, that's sometimes that's all you really need out of a movie.
Can a silly action movie be too silly? A ludicrous sci-fi flick be too ludicrous? Lockout is a cinematic stunt a motorcycle ride across a tightrope that teeters the line between bombastic fun and inane nonsensical lunacy. A collage of futuristic landscapes and big screen 1-vs-100 scenarios reputable French producer Luc Besson's (The Fifth Element Taken) "space jail" thriller tests your patience for stupidity and cookie cutter filmmaking. The movie does a good deal of winking but nine times out of ten it just has crud in its eye.
Guy Pearce stars as the one-liner-slinging Snow an alleged murderer sentenced to life in the orbital penitentiary MS One. Snow fails to convince Langral (Peter Stromare) head of the Secret Service that his recent running punching kicking car chasing escapades were anything more than a crazy man on the crazy run (when in fact we know it's all in an effort to protect and hand off a MacGuffin briefcase). Meanwhile the President's daughter Emilie (Maggie Grace) heads to MS One to get the scoop on the prison's nefarious psychological experiments only to find herself (thanks to an idiot secret serviceman) in the middle of an all-out inmate revolt. With a hostage situation on the Secret Service's hands there's only one person suitable for the infiltration hostage mission: the guy they just convicted as a murderer.
Forget logic — Snow's the best man for the job because Pearce's gravitas outdoes every tense dramatic moment every flashy action scene every CG spectacle in Lockout. He is the saving grace of the film crafting a character who deserves a Die Hard or Escape from New York instead of the limp half-baked vehicle that's more sizzle reel than narrative film. Grace holds her own with the fast-talking badass forming a rapport that blossoms in the film's calmer moments. But they're rare with writers/directors James Mather and Stephen St. Leger insisting on jumping from the dynamic pair to the caricatured villains (apparently MS One is a space jail comprised entirely of Scottish/Irish criminals) or the cliche-ridden Government goons manning a control room.
If Lockout approached its sci-fi and action with the same intimacy that made Besson's District B13 and Taken successful it may have found a footing. But the cat and mouse game exist in a world where plot is written for twists (the nameless "package" continually bears its ugly head in the escape story) and rules are made up on the spot. Anything can happen! — in a bad way. At one point Snow and Emily jump out of MS One into space and fall downward. Because there's gravity in space? A nitpick that speaks to the larger problem: Lockout never tries to make any sense — dramatically viscerally emotionally.