---
title: "Taken"
year: 2008
kind: "film"
canonical: "https://film.one/film/taken"
fi1m_id: "taken"
imdb_id: "tt0936501"
tmdb_id: 8681
wikidata_id: "Q277080"
fi1m_score: 66
critics_score: 58
critics_reviews: 14
published: "2026-10-05T05:50:45.994195+00:00"
updated: "2026-10-05T05:50:49.371944+00:00"
region: "PT"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Taken (2008)

Directed by Pierre Morel · 1h 34m · IGAC M/16 · Action, Thriller

## Identity

Taken

- **Canonical:** https://film.one/film/taken
- **Type:** Film
- **Fi1m ID:** taken
- **IMDb ID:** tt0936501
- **TMDB ID:** 8681
- **Wikidata ID:** Q277080
- **Same entity:** https://www.imdb.com/title/tt0936501/, https://www.themoviedb.org/movie/8681, https://www.wikidata.org/wiki/Q277080

**Fi1m score: 66** · Critics 58 from 14 reviews

*In a sentence:* Liam Neeson makes a phone call more frightening than most of the fighting

> Liam Neeson gives *Taken* a convincing father’s fear and enough authority to carry its brisk violence. The crude villains and repetitive action matter, though: this is a serviceable thriller with a better lead than script.

## Synopsis

The story centres on Bryan Mills (Liam Neeson), Kim Mills (Maggie Grace) and Lenore St. John (Famke Janssen). When Kim Mills is taken, her father sets out to bring her home. A phone call puts him in contact with the danger, but being able to speak does not mean he can reach her. His experience as a trained killer gives him a way of pursuing her captors. The search takes him into human trafficking, with his daughter’s safety depending on his ability to find the people holding her. He is prepared to threaten their lives to get her back.

## Review

*Taken* is a serviceable action thriller carried by Liam Neeson, and it asks us to forgive too much in return for his commitment. Pierre Morel keeps the pursuit moving and gives the violence enough force to make each confrontation count. Bryan Mills seems like a man who has already decided what he is prepared to do, which lends even the less plausible action some conviction. That can sustain a short thriller, but the script’s crude treatment of the people standing in his way leaves a sour taste.

The script by Luc Besson and Robert Mark Kamen has a useful, simple premise: a father wants his daughter back and knows how to hurt the people stopping him. That is enough to get a thriller moving, and the writers understand how little explanation the pursuit needs. Their judgement is less sound when parental suspicion becomes evidence that the father understands the world better than everyone else. The film keeps giving him reasons to distrust strangers, without much interest in what that distrust does to anyone around him.

Liam Neeson makes the character’s certainty more persuasive than it deserves to be. His performance holds together the loving father and the practised killer, with a reserve that makes both seem plausible even when the writing does not. We were properly tense during the phone call, because he lets us hear the fear beneath his control. The scene gives him something more demanding than another physical opponent: he has to persuade us that a man can be frightened for his daughter and still think clearly.

Michel Abramowicz’s photography works best when it lets the leading man’s physical presence dominate a confrontation; the force of an encounter matters more here than elegance. Frédéric Thoraval’s editing gives the pursuit momentum, though it cannot make every fresh bout of violence feel different. The director is good at making an impact register. He is less successful at varying the encounters, and the fighting becomes repetitive despite the short running time.

Hugues Tissandier’s production design is functional, with little that stays with us beyond the immediate threat. The surroundings rarely feel worth noticing once the hero has somebody to confront, which suits the film’s haste but gives us little sense of a life outside the pursuit. Nathaniel Méchaly’s score is similarly intent on keeping the pressure up. It supports the urgency competently, although the phone call makes a stronger case for how much tension the leading actor can generate with his voice.

The larger problem is who gets to be a person. Maggie Grace’s Kim Mills gives the pursuit its emotional purpose, but the film’s attention remains firmly on what her father can do about her danger. Its treatment of human trafficking is troubling because the victims’ suffering chiefly provides permission for further violence, while foreign villains are reduced to threats. An action thriller need not stop for a lecture, but it ought to distinguish between an individual criminal and a convenient national stereotype.

By the standards of the rescue thriller, the film delivers the basic satisfactions efficiently: an urgent objective, a convincing lead and little time wasted once the pursuit begins. It also asks us to accept too much simply because its hero is the one doing it. At 94 minutes, it is sensible about how long this pursuit can hold our attention, even if some encounters could have been lost. Try it for Liam Neeson if blunt action is the attraction; do not expect the script to question him on your behalf.

*Fi1m score 66, published 5 October 2026.*

## What the critics say

The reviews lean towards mixed approval, with Liam Neeson’s performance the clearest point of agreement. Critics repeatedly praise his conviction as an action lead, particularly the way he combines parental anguish with a cold, determined capacity for violence. Much of the favourable coverage also credits the film’s brisk momentum and forceful set-pieces, finding an effective thriller even where the plotting strains credibility.

The reservations centre on stereotyped foreign villains, racial politics and the treatment of sex trafficking as material for an action plot. The spread is wide: some critics accept those shortcomings as the cost of blunt entertainment, while others find that they undermine the film. Empire delivers the strongest rejection, treating the violence and xenophobia as central failings rather than incidental flaws. Slant Magazine offers a less common defence of the script’s subtle insights, though it questions the visual style and spatial inventiveness of the action.

## Straight answers

**How long is Taken, and what is it rated?**

*Taken* runs 1h 34m and is rated M/16 by the IGAC in Portugal. It is an action and thriller film.

**Where can I watch Taken in Portugal?**

*Taken* is not on any streaming or rental service in Portugal at the moment. It is available in 31 other countries; change your country at the top of the page to see where. Availability is checked daily.

**What should I watch after Taken?**

After *Taken*, try [*The Limey*](https://film.one/film/the-limey) (1999, Fi1m 80): Another furious pursuit, with more room for regret and fractured memory. Then [*High and Low*](https://film.one/film/high-and-low) (1963, Fi1m 90): A kidnapping thriller that gives moral consequences as much attention as suspense.

### Reviews we read (14)

- **Radio Times**, Stella Papamichael (4/5): Papamichael praises the film as a gritty, energetic thriller. She argues that its attempt to engage with sex trafficking is overwhelmed by the action and stereotyped villains. [Read](https://www.radiotimes.com/movie-guide/b-06fg3s/taken/)
- **Time Out** (65/100, inferred): The page identifies itself as a film review, but its review text is unavailable, so the critic’s verdict cannot be established. The available description calls it a lean action movie, but provides no critic-specific praise or complaint. [Read](https://www.timeout.com/movies/taken)
- **Variety**, Derek Elley (65/100, inferred): The critic finds the action film dumb but entertaining, with its relentless momentum carrying it along. Neeson’s cold-eyed, convincing performance as an unstoppable killer earns particular praise. [Read](https://variety.com/2008/film/markets-festivals/taken-1200535870/)
- **Slant Magazine**, Ed Gonzalez (2.5/4): Gonzalez finds the film’s script and Neeson’s performance strong enough to compensate for its inconsistent style. He praises Neeson’s range and the script’s subtle insights, while wishing the film had more of District B13’s spatial inventiveness. [Read](https://www.slantmagazine.com/film/taken/)
- **Total Film**, Total Film (3/5): The review calls it reliably hard-headed entertainment, though less fun than The Transporter and burdened by dubious racial politics. It praises Liam Neeson’s convincing action-hero performance and the film’s energetic, brutal set-pieces. [Read](https://www.gamesradar.com/taken-review/)
- **Los Angeles Times**, Kenneth Turan (55/100, inferred): Turan finds the film a brisk, violent action picture that is unintentionally silly at times. He singles out Liam Neeson’s committed performance as its saving strength. [Read](https://www.latimes.com/archives/la-xpm-2009-jan-30-et-taken30-story.html)
- **The New York Times**, A. O. Scott (55/100, inferred): The review’s verdict and specific praise or complaint cannot be verified from the blocked page. The accessible text contains no review details. [Read](https://www.nytimes.com/2009/01/30/movies/30take.html)
- **Empire**, Dan Jolin (10/100, inferred): Jolin condemns the film as a venomous, xenophobic male-empowerment fantasy. He singles out its snarling hatred and brutal violence as substitutes for humour and adrenaline. [Read](https://www.empireonline.com/movies/reviews/taken-review/)
- **Den of Geek**, Duncan Bowles (4/5): Bowles enthusiastically recommends the film as a slick, no-nonsense action movie. He especially praises Liam Neeson’s performance and the clear, impactful action. [Read](https://www.denofgeek.com/movies/taken-review/)
- **/Film**, Hunter Stephenson (7.5/10): The critic finds Taken an entertaining, politically incorrect action film that merits a stronger push and could launch a franchise. He praises its fast-paced depiction of human trafficking and Liam Neeson’s intelligent, relentless action hero, while noting that the ending and some late action strain credibility. [Read](https://www.slashfilm.com/501847/movie-review-taken-the-next-bourne-franchise/)
- **Digital Spy**, Stella Papamichael (70/100, inferred): The review finds the film an effective, visceral action thriller despite its slow start and troubling portrayal of its villains. It especially praises Liam Neeson’s convincing, dignified performance and the parental anguish he brings to the role. [Read](https://www.digitalspy.com/movies/a130733/taken/)
- **Eye for Film**, Val Kermode (65/100, inferred): Kermode finds it a gripping, fast-moving thriller, though its implausibility and clichéd portrayal of Arabs weaken it. She praises the powerful early scenes and Liam Neeson’s performance as both loving father and trained killer. [Read](https://www.eyeforfilm.co.uk/review/taken-film-review-by-val-kermode)
- **Consequence**, Clint Worthington (50/100, inferred): The critic finds the film politically dated and its action repetitive, but still worthy of regard for its memorable central scene. They praise the suspenseful phone call and Neeson’s energetic performance, while criticizing the uninspired action and portrayal of foreign villains. [Read](https://consequence.net/2019/01/classic-film-review-taken/)
- **Paste**, Paste Staff (25/100, inferred): The review finds the film’s action occasionally effective but ultimately undermined by lazy, bigoted storytelling. It praises the fluid, realistic fights while criticizing their lack of originality and the film’s unexamined fear-based politics. [Read](https://www.pastemagazine.com/movies/liam-neeson/taken)

## Details

- **Director:** Pierre Morel
- **Director:** Pierre Morel
- **Writer:** Luc Besson, Robert Mark Kamen
- **Cinematography:** Michel Abramowicz
- **Editor:** Frédéric Thoraval
- **Music:** Nathaniel Méchaly
- **Production design:** Hugues Tissandier
- **Producer:** Pierre-Ange Le Pogam, Luc Besson
- **Cast:** Liam Neeson as Bryan Mills; Maggie Grace as Kim Mills; Famke Janssen as Lenore St. John; Olivier Rabourdin as Jean-Claude Pitrel; Katie Cassidy as Amanda; Nicolas Giraud as Peter; Leland Orser as Sam Gilroy; Jon Gries as Mark Casey
- **Runtime:** 1h 34m
- **Certificate (IGAC):** M/16
- **Release (Portugal):** 30 October 2008
- **Genres:** Action, Thriller
- **Budget:** $25 million
- **Box office:** $227 million
- **Trailer:** https://www.youtube.com/watch?v=ZxKDnpiJaVc

## Where to watch in Portugal

Not streaming, renting or buying in Portugal at the last check.

Also available in: AE, AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, HK, IE, IT, JP, MX, NO, NZ, PA, PE, PL, SE, US, ZA. Add `?region=XX` to this URL for another country.

## If you liked this

- *The Limey* (1999), Fi1m 80: Another furious pursuit, with more room for regret and fractured memory. — [Fi1m page](https://film.one/film/the-limey.md)
- *The Man from Nowhere* (2010): A withdrawn protector brings physical precision and greater feeling to a brutal rescue.
- *Frantic* (1988): A disappearance abroad becomes a thriller that allows its hero to be helpless.
- *High and Low* (1963), Fi1m 90: A kidnapping thriller that gives moral consequences as much attention as suspense. — [Fi1m page](https://film.one/film/high-and-low.md)
- *Sleepless Night* (2011): A desperate father, compressed spaces and action that makes geography matter.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/taken